DE-CRYPTICart official catalogue

C CA AT TA AL LO OG GU UE E

Curated by Art Directors Carlo Greco and Alessandra Magni Critical texts by Art Curators

Angela Papa Barbara Magliocco Camilla Gilardi Chiara Rizzatti Eleonora Mannarino Elisabetta Eliotropio Erika Gravante Federica Acciarino Federica D’Avanzo Federica Schneck Francesca Mamino Giulia Battisti

Giulia Fontanesi Giulia Marchegiani Ilaria Falchetti Liliana Sánchez Lisa Galletti Lucrezia Perropane Mara Cipriano Mara Torretta Martina Stagi Martina Viesti Sara Grasso

Human beings have a deep attachment to mystery. The unfamiliar tickles the imagination and ambiguity produces hypotheses; the enigma, on the other hand, is a puzzle for our minds. The unknown, in its broadest sense, ignites in us the spark of discovery and we love it. Why are we so attracted to the unknowable? Why does our mind constantly try to see beneath the surface of things? Isn't it easier to live in a crystal-clear world where no shadow lies beneath things? No. A simplistic and totally comprehensible view is not part of human nature. Man feels the need to search for what lies beneath the veil, he needs questions in order to know the world. On the other hand, since the very beginning, this continuous search for and solution to the unknown has led the human species to consolidate and proliferate over time: it is good to be 'attracted to mystery' for survival reasons: if you know the areas where you usually move, you can reduce the possibility of encountering surprises that are not entirely pleasant. The almost morbid attachment to the arcane, therefore, seems to be inherent in our consciousness from the dawn of our history and yet, is it only a matter of survival? Is the attraction to mystery simply a legacy of our evolution? No. It is not just that. The human being feels the need to know and unravel the shadows because he is aware that he does not know everything about the world. Knowing only what he knows, he is led to see reality as a single mysterious space where the energies and dynamics set in motion are not entirely clear and crystalline. Centuries of philosophy have sought solutions to the great mysteries of life, the world and the otherworldly and, for centuries, the answer has been one: there are divine forces and figures that we must take for granted to explain the phenomena of the world unknown to us. Natural cataclysms, the cycle of life and death, and even disease were all things that referred to something as obscure and inaccessible as the divine. Thus, paradoxically, the unknown was explained by the unknown.

This way of viewing the world persisted in principle until the developments of science and the arrival of the scientific method. Since then, many enigmas of the world and of life have found a solution based on non-empirical methods and our reality seemed to become more crystalline. But is this really the case? Not really. Our world is still full of enigmas, of 'unsolved cases', of mysteries that reason can only partially explain. There are essentially two reasons for this: science is constantly evolving and updating, and we continue, undeterred, to search for the mystery by banging our heads against it. It is inherent in our DNA. The element as transparent and clear as crystal holds within it facets and shadows that the human being is eager to unearth. It reels before the unknown, the mind quivers and cannot do otherwise. Art itself is part of this. One of the few human actions not necessary for existence, it has developed and consolidated to the present day.

Let us ask ourselves at this point how it has been possible for it to develop and endure even though it has never affected the quality and length of our lives. Perhaps because creating something out of nothing makes us comparable to gods? Possibly. Perhaps because making art allows us to narrate what is impossible to express through speech and writing? Certainly. Or does the solution lie in seeing art as a gigantic enigma? The latter is, predictably, the most fascinating of the three hypotheses. Everyone has their own motivation for creating art, everyone feels the need to 'make' without even knowing why. Only by creating do we take small steps to try to discover the motivation behind this desire to create, and only by creating do we unravel previously opaque and inaccessible areas of our soul.

Art endures because it is itself an unknown force. Primordial energy springing directly from the innermost recesses of our consciousness, art is what is most obscure. And we are drawn to it, we are fascinated by the colour that moves and expands through our gestures; we are enchanted when the spark of creativity takes over and occupies all our thoughts. In those moments, art moulds us while we are trying to mould it. We try to tame this force unknown to us, but it is all in vain. An endless cycle of inspiration and creation; of searching for answers and formulating new enigmas, art will always remain a mystery. And that is the beauty of it. If this cycle had an end, the act of creating would not be so fascinating. All that yearning for the unknown that tickles the human soul would inexorably leave our limbs and art would be left to itself. Malleable colour would turn into granite rock and the spark of creativity and change would lie motionless, encased within that imperturbable skeleton. Stripped of its Maya's veil, art would no longer have any reason to exist.

In this sense, M.A.D.S. Art Gallery wants to position itself as a tool to avert the lifting of the veil.

"DE-CRYPTICart" wants to be a stratagem to advance and make inexhaustible that cycle of searching for answers and continuous formulation of new enigmas that only art, with its malleability and mysterious energy can create. "DE-CRYPTICart is deciphering the unknown and reformulating it; it is lifting the veil to sink into the bottomless abyss of art.

Concept by Lisa Galletti Art Curator

Abir Baltagi “Living consists in continually reducing the world to its body, starting from the symbolic that it embodies. Man's existence is corporeal."

(David Le Breton)

Abir Baltagi is a Lebanese holistic artist who brings emotional and energetic purpose to her work.

Understanding the phenomena in their totality and in their globality, the artist portrays events, narratives, stories, beliefs and practices. Her work is anthropological, energetic, strong and chronologically sequenced according to her extensive research into the Islamic universe. Equality and democracy are words that translate the artist's look at the world. What’s more, concepts such as kindness, gentleness, love and empathy evoke the interior of her work. Through her acrylic paintings, Abir builds relationships with her language and with the Koran, creating a kind of game between shapes and symbols. Full of meanings, the series of hers portrayed here depicts five sacred areas, five paintings created from a complexity of symbologies. Abir creates relationships between the Arabic language and the Koran, translating inspirations that she has kept from her childhood to her current work and which emotionally relates to both her production and and to the spectator. The artist makes herself visible through her way of relating to the world, as well as her way of being and thinking. Compassion: a word that the artist uses at the center of one of her works. Using symmetry, mathematics and representations in each unit of measurement of her work, the artist establishes and identifies metric systems full of meanings, resulting in a powerful and original work. Her series begins in “Al Kaabah”, a place where people gather for prayer, and moves on to “Al Aqsa”, a place that evokes freedom of expression and welcomes people despite their differences. Thirdly, we are led to “Al Madina”, represented by the story of a prophet-messenger, right after the painting Hagia Sophia, depicting an architectural structure that symbolizes a state of high consciousness of the humans that attend it. Finally, we arrive at the last work of the series: “The Heart, a sacred place”, which implies that this organ is understood as a true place of worship, represented by the concept of love, the feeling that truly embraces the concept of prayer and the most sacred place located in all human beings.

Art Curator Barbara Magliocco

Abir Baltagi

Al Aqsa: The First Qibla

Abir Baltagi

Al Kaaba: The Ancient House

Abir Baltagi

"Al Madina: The Messenger fromn Beginning to End"

Abir Baltagi

Hagia Sophia: The Union of Civilizations

Abir Baltagi

The Heart: A sacred place

Alex Silver

Alex Silver artistic career began thanks to photography and music production at the age of 13. He studied Fine Art & Photography at New York University, Tisch Schools of the Arts. The artist is, for the first time, a guest of an exhibition organized by M.A.D.S. Art Gallery and on the occasion of “DE-CRYPTICart” he exhibits three different pieces. The artist is, as it is already possible to perceive from these first works on display, extremely dynamic and eclectic. His artistic expressiveness, in fact, ranges from photographic to pictorial visual art, up to musical expressiveness. On display we see, therefore, two photographic works "DIVINE MASK" and "ICE" and a pictorial work "EXCAVATED". The first impact with these works allows us to understand the artist's interest in the chromatic contrast between black and white, the two non-colors that create dynamism and a profound uniqueness when juxtaposed. "DIVINE MASK" is an extremely powerful and impactful work, which expresses a great sense of taste and aesthetics, through an ethereal elegance. In this work there is a clear denial of identity, the artist covers the subject's face with a mask of white roses which would seem to underline the importance of appearing, everything is also framed by the blazer that the model wears to underline the precision in being perfect. "ICE" is a completely different photographic work, ice is nothing more than one of the possible transformations of the material water, the solidity and transparency of ice allow the artist to create an abstract work thanks to the choice of lights and shadows . This work is a real journey inside the material that allows the observer to get lost in ever new and different details. The last work on display, on the other hand, is a pictorial work that on the one hand recalls the artistic expressiveness of the American abstract expressionists and postmodernists.

In this work we find the theme of black and white as part of an artistic continuum, moreover, there seems to be a division: in the lower part of the painting we find black strokes that may seem rural, in the upper part, on the contrary, there are evident numbers , words and different types of scribbles. On one side black on white, on the other white on black. With this vision imprinted in the eyes, it is possible to take into consideration the philosophy of Ying and Yang, according to which there is always a little good in bad and there is always a little bad in good.

Art Curator Martina Viesti

Alex Silver

DIVINE MASK

Alex Silver

EXCAVATED

Alex Silver

ICE

AlinKa “The purpose of my art is to give voice to Colour, to reveal deeper inner emotions and feelings by playing with it.”

(AlinKa)

AlinKa is a Moldavian artist who through her work experiences the power of oil paint by varying between different techniques. Thanks to it, her paintings depict not only material and physical reality, but even more the unexpressed, and so the feelings and thoughts. The artist participates in the exhibition "DecrypticArt" held by M.A.D.S. Art Gallery with three artworks that fully represent the artist's poetics and the concept of the artistic event itself: "Anelito_Pt1", "Anelito_Pt2", "From the Basement". The titles of the first two paintings on display can refer to the Latin meaning of anhelitus, and so to yearn for a desire, to be in pain for it. In the same way, AlinKa's works have as their protagonist a man who in every different context has a broken and desperate look, sometimes accompanied by faces that may represent the masks he wears everyday and takes off when he is in his intimacy. The colors underline this sense of anguish but at the same time the soft lines and muffled shades give the artworks a certain lightness. We can glimpse the passion, and therefore the influence, of the works of Tim Burton, of those gloomy but brightly colored environments that emerge forcefully from the dark. Nevertheless, there is a certain predilection for the color yellow which occupies a large part of the scene, usually dueting with blue and gray achromatic tones. The silhouettes almost recall the funny ones from cartoons while plotting the desperation of the protagonist.

The contour lines are bold, in contrast with the nuances of the chosen colours.

Art Curator Angela Papa

AlinKa

Anelito_Pt1

AlinKa

Anelito_Pt2

AlinKa

From the Basement

Andrea Gallastegui Arrigoni

To make her painting, Andrea responds always and freely to herself, to what seduces her, to the freedom she likes to pursue. Find a way to simply be and do, without necessarily responding to something or wanting to say something concrete. The childish, the young and the adult, which is only hers. Her main works are oils and acrylics on canvas, works focused on the strength and energy that gives us the use of color, in its proportions and combinations, thus traveling in the constant search for ideas, concepts and designs in terms of content.

Andrea Gallastegui Arrigoni

Medusa and Peces 2 are focused on strength and energy that play around with the use of color, proportions, and combinations, thus traveling in the constant search for ideas, concepts and designs in terms of content. Oriented to the use of different types of artistic concepts, strokes and tools, an exploration that has allowed him to represent his vision of spaces with illogical and inaccurate personalities, emotions and simple elements of everyday life that come to life and transform when viewed by the viewer

Art Curator Giulia Battisti

Andrea Gallastegui Arrigoni

Medusa

Andrea Gallastegui Arrigoni

Peces 2

AndyJay

AndyJay is an NFT artis whose artistic production is based on what the artist thinks would make happy the observer. The artisti is, for the first time, a guest of an exhibition organized by M.A.D.S. Art Gallery and on the occasione of “DE-CRYPTICart” AndyJay exhibits “Picnick #4 : Baptized cake” which is a digital drawing. This pieces is a sign of love and gratefulness, every element is balanced with the other and the fullness of the moment is conveyed by the artist thanks also to the luminosity given to the elements present. The creative style is that of anime or Korean Manhwa , although it is not possible to identify a unitary style, "Picnick #4 : Baptized cake" expresses that ethereal and suspended in time atmosphere that only this kind of art is able to transmit. We perceive wealth and abundance in the work, the artist therefore wishes to express joy and transmit it to the observer, from which derives the sense of gift. But food is not the only thing present in the work, there are characters such as the two small creatures that are found under the cake. The creatures are engaged in a long embrace an element that gives a sense of sharing. But that's not all, there is a postcard, a book which, thanks to the artist's explanation, we discover to be the Bible opened in Luke 23, but sealed letters are still visible and a light which gives royalty to the whole work.

Art Curator Martina Viesti

AndyJay

Picnick #4 : Baptized cake

Anna Elisabeth Anna Elizabeth is the dance between colors and emotions, a unique artist showing her works Confluence of Realities, Light Breaking Through, Sky Candy at the international art exhibition DE-CRYPTICart in the international art gallery M.A.D.S. Anna expresses herself in a strong, forceful and lively way. Her works arouse strong emotions because her use of color is very powerful and communicative. Her art touches the chords of both figurative and abstract with a fundamental characteristic what represents the external world is a projection of internal emotions, of the soul, which are projected in a swirl of bright colors. So, as the artist herself states when talking about her art, the use of colors to represent emotions is Anna Elizabeth's method of bringing enlightenment to others. For example, red can indicate anger and frustration, while blue creates peace and tranquility. Mixed together, they become purple, a color of enlightenment that represents the future, imagination and dreams. Viewers can find a comforting interpretation of the beauty and ugliness of our everyday world through the heartfelt use of various media. Fundamental, then, is the dialogue with the other, a dialogue that proves to be profound and delves into the self. The 'goal is to educate and bring joy to the world by creating art from ideas gathered from personal and social issues.

Art Curator Mara Cipriano

Anna Elisabeth

Confluence of Realities

Anna Elisabeth

Light Breaking Through

Anna Elisabeth

Sky Candy

Anna Maria Majkutewicz

The works exhibited by artist Anna Maria Majkutewicz in this exhibition are the result of her intuitive art. An artistic process based on personal development, which connects intuition, creative process and spontaneous expression. A way of creating, which puts emotions first, in which the artist surrenders herself, exploring the deepest and most authentic side of self. The artist's aim is to paint what she feels, conveying ever-changing feelings in each of her works. In front of the blank canvas, the artist leaves control and technique behind, letting the brush run free. Her works speak through colours, which best express the uninterrupted flow of energy and thoughts that runs through her. Each of her paintings is unique, from the drafting of the brush strokes to the choice of colours, the result of her own feelings and emotions of the moment. The play of light and shadow given by the skilful use of colours increases the expressiveness of her works, capturing the gaze of the viewer who observes them. Each brushstroke gives a unique dynamism to the painting, conveying a strong energy that animates the artist at the moment of painting. The artist aims to give intense emotions to each viewer, through experimentation with different techniques. Each work has two meanings, the intimate meaning of the artist and a more personal meaning given by each viewer. Interpretation is free, as are her works.

Art Curator Lucrezia Perropane

Anna Maria Majkutewicz

Gone with the wind

Anna Maria Majkutewicz

Sweetness

Anna Maria Majkutewicz

The last ray of the sun

Antonietta Grimaldi "I am still searching for new stimuli and my own style that lead me to experiment with new techniques in my canvases". Antonietta Grimaldi

We have come to know well the art of the very talented Italian artist Antonietta Grimaldi. A genius of color and movement, bold, dynamic and always innovative. Today, at the international art exhibition DE-CRYPTICart in the international art gallery M.A.D.S., she is exhibiting Foule. Color Emotion, Spatial, Inner Waves, Volti Nascosti.

Antoinette is able to bring human feelings, themes, thoughts and reflections back to canvas, she does it with her very personal and original style that distinguishes her as a great abstract artist. Antonietta's colors dance and vibrate on the canvas, they are vivid, bright and return the movement that the artist performs in the act of painting. Antonietta digs inside herself and returns to the viewer a universe of emotions with which to dialogue and interface. Our Grimaldi gives us her deepest self, which she reworks thanks to her creativity and incisiveness. Interesting are the architectures of the compositions, the choice that the artist makes in the formation of the space of the canvas: her brushstrokes are sometimes softer, others more raw and this depends on the message that the artist wants to leave. Color Emotion "is a devastating rage. Warm and cold tones intertwine with symphonic harmony, generating a feast for the viewer, a storm of colors that become a diamond of metaphors." Volti Nascosti "takes on stronger, darker tones. The work is dominated by a transitional character that ranges from decorative to conceptual strokes. Spaces are punctuated through a specular interpenetration, which transforms through a process of addition and interlocking of parts the human nature itself: thoughts and fears that daily see themselves trapped behind the bars of Society." Spatial "offers the viewer a conceptual space, capable of filling the eyes and the mind." Foule expresses a "sense of multitude. In fact, one observes how they are used with extreme skill to transform intangibility into tangibility". Finally, Inner Waves "pushes the viewer to face deep, intimate yet universal reflections.

Art Curator Mara Cipriano

Antonietta Grimaldi

Foule

Antonietta Grimaldi

Color Emotion

Antonietta Grimaldi

Spatial

Antonietta Grimaldi

Inner Waves

Antonietta Grimaldi

Volti Nascosti

Argiris Bothos (Boareye) “I love the people I photograph. I mean, they’re my friends. I’ve never met most of them or I don’t know them at all, yet through my images, I live with them.” (Bruce Gilden)

Photography has the exceptional power of capturing the artist’s perception in a fragment and communicating it with the rest of the world. A depiction of reality, the artist’s lenses highlight details of our everyday life and bring to life what is usually passed unnoticed and taken for granted. Especially for an art street photographer like the Greek artist Argiris Bothos, also known as Boareye, every interaction is an occasion to give value and shift the attention to the mundane. The spontaneous interactions found on the streets are brought to life in every picture and the ordinary becomes extraordinary every time the observer looks at them. Coupled with vivid colours and lights, Boareye’s images bring beauty in moments of melancholy or loneliness, forcing us to rethink how these concepts are appraised in our society.

Against the thinking schemes of the outer world, the images induce us to empathise with the situation and the subjects of his pictures, shifting us our thoughts into a deep-thinking state.

Art Curator Francesca Mamino

Argiris Bothos (Boareye)

Martian Nights

Asuka Takahashi Art Brut is an ideological phenomenon. It marks the rejection of the discrimination that marks the mature mentality: that of the real and the unreal, or in other words from the reality and pleasure principle. The artists of Art Brut did not allow themselves to be robbed of their childhood and clung to a universe where reality and desire are not experienced as contradictory. Thus the Art Brut artist does not conceive of painting as the other side of a world in disarray, but rather as a sorcery that helps him reconcile with the world. He remakes the world as he desires it. The revisiting of the real by means of painting to give "voice" to the imaginary and the desires that are formulated in our minds is a splendid mechanism of evasion from reality. Not so much to escape from the contemporary world as to sublimate it. Asuka Takahashi, takes the legacy of Art Brut with both hands and transforms it, shaping it to her liking. What results are extremely instinctive works within which oil pastel is rubbed, stretched and layered to compose compositions characterized by a very high expressive power. This expressiveness is mainly due to the use of color palettes derived not from reality but from Asuka's perception and reformulation of the world through thought. The backgrounds are yellow; perspective is completely nonexistent. The forms and characters present oversized and fantastic physiognomies that are unequivocally removed from everyday reality. From these assumptions and these peculiar formal and expressive choices comes an incredibly strong, intense and vigorous art within which a whole range of characters are portrayed. There is Roboto for example, who shows us the joy and freshness of a summer vacation. There is a giraffe who, wanting to communicate with plants and animals uses the soul, a universal and unequivocal element of every individual. Asuka, through her works catapults us inside situations and experiences. The feeling of being part of this group of characters is inevitable, just as it is inevitable to be transported into a vortex of joyful vivacity. The oil pastel, with its vivid and intense pigments becomes form and character; it colors the souls of the individuals depicted within the works and, consequently, it colors ours by making us part of the convivial and friendly experience represented in the works. It is an art that grabs and ravishes you with its vidid colors and primitive forms.

A daughter of Art Brut, Asuka's art draws the viewer in through the use of extremely expressive color palettes and shapes. The black mark, which demarcates the bodies and objects in the works, becomes the engine of the entire composition. Rough, scratched and sharp, the stroke, along with color and form transports us to distant universes, scorching summers and convivial moments. Asuka's art is literally composed of countless worlds, and by looking at her works we can experience, if only for a moment, the events and episodes narrated by the artist.

Art Curator Lisa Galletti

Asuka Takahashi

Giraffe and happy friends

Asuka Takahashi

Summer vacation with Roboto

Asuka Takahashi

The moment it becomes the sun

Asuka Some works of art have the power to transport the viewer to faraway places. Territories beyond space and time where each feature seems to merge with one another. Rather than places in fact, it would be more correct to call the latter "atmospheres." Atmosphere is for all intents and purposes a condition, a mode of being of a given environment, in relation to the feelings or reactions it may arouse. In figurative arts criticism, atmosphere is called the mass of air which, enveloping the things the artist sets out to portray, alters their aspects and especially their values, according to their distance from the point of observation and the particular light by which they are or are supposed to be illuminated. Combining these two definitions gives rise to a third, perfect for explaining Asuka's abstract work. Her works are breath, sensation, masses of color moving in unison to narrate a space that smells of memory and feeling. Before us is an expanse of bluish and greenish patches. Patches of ultramarine blue overlap with patches of lighter, almost whitish tones only to be dirtied again with rather transparent green pigment. One gets the sense that the work is wet, damp and illuminated by the diaphanous light of a cold spring morning. Where are we standing? What are we observing?

Asuka's predominantly abstract painting has the power to catapult us to places we have never seen before. Yet, as if in deja vu, when we look at these works we feel as if we have experienced these atmospheres firsthand at some time in our past. "Moss, lake and early morning" refers to the image of a lake. Its calm, marshy surface characterized by dark water and mossy elements yields its characteristics to the work and becomes the work itself. The oil color, smooth and glossy, moves with rapid strokes across the canvas, and the patches of color overlap and get to know each other, forming the atmosphere we mentioned earlier. Color, form and sensation are here all united in one work. This feeling of atmosphere, is not only applicable to real, tangible landscapes and places. Asuka also evokes this concept in more conceptual works, where the abstract is used in the purest sense of the word. In "Past, Future and Illusion," oil color is molded and gently laid on the canvas to shape concepts that are extremely difficult to define and explain in words. Past, future and illusion are the three themes of the work and, within it, they merge in unison realizing a composition all played on the contrasts of shapes and colors. A petrol-green sea characterized by flat, fast brushstrokes accommodates a large reddish stain with blurred, indefinite boundaries. It looks like a mushroom, it looks like a cloud or a path; a kind of path. The red spots are interposed with pinkish elements and brown patches going to represent the smoky, indefinite and labile path that every existence takes throughout its life. Past, future and illusion come together here in a composition that is uncertain and ethereal by nature and captures its purest essence.

Art Curator Lisa Galletti

Asuka

Moss, lake and early morning

Asuka

Past, Future and Illusion

Asuka

What lies ahead

AyaNee AyaNee is an artist attentive to sensitivity and detail, it can be distinguished in the attention to harmonious details and sinuous lines. His subjects, although different, have a thread that unites them, creating a deep connection between them. They are in fact stories of women, where each illustration seems to reveal their story. The refinement with which details are depicted is the key to reading and understanding his series of illustrations. If the neutral background makes the scenario universal, the eyes and the gaze have the task of capturing the viewer, transporting him into the story these women carry with them. All the details starting from their sinuous hair up to the refined accessories mean that they are differentiated each with their own personality and sensitivity. However, they are configured as models in which it is possible to rebuild oneself through universal connections of experiences and memories. This is the story of great women who, looking for a place in the world and wondering who they really were by comparing themselves with others, discovered that they had all the power within them and that the answers they were looking for outside had them within them. This has allowed them to become the best version of themselves and to be a model for the observer in the exploration of the self and its enhancement. So through her illustrations AyaNee wants to tell us that beyond the differences, their personal history or everyone's personality, only by knowing the true self in all its facets and particularities, can one find a place in the world.

Art Curator Giulia Marchegiani

AyaNee

Red and Ponytail

AyaNee

Tulip

AyaNee

Peaceful Sleep

Beniko Choji

日本画

Nihonga ( ) is a Japanese term consisting of three characters, literally meaning "Japanese-style painting." It was coined in the Meiji period by Japanese artists themselves who wanted to highlight technical and stylistic characteristics of this type of contemporary painting that was grounded in traditional art. Nihonga touches on all traditional Japanese styles, from the Kanō school to the Rinpa school to the Maruyama school, combining and blending them together. Compared with Yamato-e, it has an endless variety of themes and subjects. In depiction, the Nihonga tends toward simplification and stylization, eliminating the superfluous and reducing natural elements to their essence, often enhancing their dynamic aspect. Beniko Choji draws heavily from the centuries-old Japanese tradition, repurposing it for the modern day. More than at the level of technique, the adaptation is visible in the subjects: beautiful women with raven black hair peep out from the cream-colored background that characterizes the entire composition. The clothes, makeup and even the canons of facial physiognomy all derive from the contemporary world that, as if by magic, smells of tradition the moment we look at the work. Indeed, it is difficult to look away from the lines that characterize the works. One line, within an entire composition, may not seem like much, and yet, in Nihonga painting each line makes sense and each one is drawn with equal care and delicacy.

Beniko Choji

We see a reddish line flowing, outlining the woman's physiognomy. It is subtle, at times expanding and then returning to being almost invisible. Like a scaffold it traces the entire representation and is colored red, eventually blending with the soft complexion of the woman portrayed. The reddish pigment has the power to give vigor to the entire work and, like a breath of life it reverberates in the petals, dress, necklaces and lips of the beautiful women. Red is the leitmotif of the composition; it is scaffolding on which half-open mouths and cerulean eyes rest. Yet the mastery and use of color is not reflected exclusively in the realization of the physiognomies. Through the kegaki technique, Beniko Choji sets about painting each hair, literally one by one. The pigment, sometimes black sometimes whitish, flows over the medium nimbly and draws the women's thick hair. The brush, which is extremely thin, acts as an intermediary between the artist's hand and the work, producing light and extremely ethereal images.

Indeed, the delicacy that these works give us with each glance is disarming. It is as if we perceive the fine raven hair, it is as if we touch that diaphanous-skinned face. The ethereal soul of these works has the power to bring them to life, to make them breathe with every breath of wind, and it is precisely for this reason that, if we pay attention, we can discern the vital spark within those half-closed crystal-clear eyes.

Art Curator Lisa Galletti

Beniko Choji

A heart in a dream

Beniko Choji

Going back in dream

Beniko Choji

The song I heard that day

Beniko Choji

Voice in the wind

Carmen Catalàn “I found I could say things with color and shapes that I couldn’t say any other way – things I had no words for”. (Georgia O’Keeffe) The Spanish artist Carmen Catalàn combines in a fervent pictorial synthesis the scrupulous observation of reality with a colouristic component based on various colour modulations and the combination of forms through symbolism expressing a thought or allegory. A symbolist atmosphere predominates in her work, created through a variety of techniques ranging from oil, acrylic and watercolour to natural pigments or recycled paper, with an eloquent plasticity and a strong expression of light and colour. Nature is observed and scrutinised in all its fascinations and expressive potential, and with admirable mastery the details are brought back to life clothed in metaphorical meanings in a context where the chromatic dimension actively participates in the communicative power of the structural framework. Her lyrical vision combined with her unquestioned and masterly ability and knowledge of technique are amalgamated with a fabulous idea and an imaginative vision of reality: the artist restores to our eyes a dream world with a strong evocative value and gives the canvas a mysterious, inscrutable, unreal, imaginative effect, where the protagonist is the colour that is conveyed with a brilliant and intense chromatic rendering. Thus emerges a poetic imagery rich in allegories where volumes and profiles tend towards colouristic harmony and are transformed into presences of the metaphysical world. It is a painting that stands out for its technical skill, wealth of detail, precision of detail, chromatic intensity and scrupulous study of light, where each element is brought back with an extraordinary pictorial rendering in a magical colouristic idyll that invites contemplation. Her works do not merely suggest the pleasure of admiring form, the aesthetic structural whole or pure emotional involvement, but invite the viewer to go beyond the confines of what is known and established to float in a new, rich, allusive, suggestive dimension.

Art Curator Giulia Fontanesi

Carmen Catalàn

El orígen de los tiempos

Chen I-Chun “Dreams can express reality in a certain distant time and space. Through the transformation of dreams, the former reality becomes another kind of reality” (Chen I-Chun)

Surreal, original, metaphysical. Chen I-Chun brings to the international art exhibition DE-CRYPTICart in the international art gallery M.A.D.S. a highly personal art form. The very talented artist presents three works to the public. Just like the great masters De Chirico, Dali and Magritte, our artist presents Surreal Tree, which crosses the boundaries of reality and projects into a dreamlike context. The artist's reflection starts from reality but takes new paths through the drive of inner dialogue. He therefore presents surreal images on canvas that combine different elements of reality. The tree is the absolute protagonist and opens up to new worlds: "the red trunk looks like a graceful woman. The black is the shadow of the tree trunk. There are many animals. Some are real, some are ghosts and some are shadows. They can belong to any space," as the artist says. The connection of the brush with thought is strong in his works: the colors, shapes, subjects and their connections project us into a dreamlike universe. As in Follow Little P to See the World. Our artist's childhood, her youthful experiences, her memories, are mixed with the skillful use of perspective and awareness of space (which is represented from a little girl's point of view) as well as the geometrization and mystification of forms. Finally, Distruption is a representation of a childhood memory. Our artist is fully aware of the image distortion that our mind applies and reproduces it perfectly. "During summer vacation when I was little, one day, our dog, Cio-Cio jumped on the chessboard while my brother and I were playing and ruined the game. My mind remembers Cio-Cio's feet were like strange hands sticking out of the sky to randomly shuffle the pieces, and the scattered pieces were like lines running around, splashing and splashing randomly in the picture."

Art Curator Mara Cipriano

Chen I-Chun

Disruption

Chen I-Chun

Follow Little P to See the World

Chen I-Chun

Surreal Tree

Chizuru Oikawa Chizuru Oikawa participates for the first time in an exhibition organized by M.A.D.S. Art Gallery on the occasion of "DECRYPTICart". With her particular technique of alcohol ink art, which "gives healing to the heart", a value that emerges immediately from the painting is the delicacy of the shapes, lines, colors: in what we are looking at, everything is magical and harmonious, as in a perfect balance. The aesthetics of the subjects remind us of the petals of the flowers: thin, velvety, soft, light.

Perhaps these are also the sensations, perceptions and emotions that the artist herself wants to convey to the observer. These "veils" have golden and shiny veins, and also small white dots that resemble bright sparkles. A large central opening, represented by a celestial white that immediately catches the eye, divides with extreme elegance two sections of the painting, that seem ready to embrace - or to embrace again - from a moment to another. Pink and blue, these "petals" seem to continue to look for, overlap, find themselves: each side wishes to lean on another, and it is extremely difficult to imagine a clear division, which does not presuppose cohesion and continuity. The softness of each part depicted brings us back to another world, as if we were immersed in particular and soft clouds. The title, "The Planet in Love", suggests the predisposition of the painting to a platonic theme, which wants to accompany aesthetics and the ideal towards a single path. If the intent of the artist Chizuro Oikawa was to give a concrete face to love, surely it succeeded, and also with a unique grace.

“When I create a work, I don't really have a plan in place, so I don't know what I can do until it's finished. I think that's the fun of this alcohol ink art. The wonderful coloring of the alcohol ink gives healing to the heart. I pray that this healing can be delivered to many people.”

(Chizuru Oikawa) Art Curator Sara Grasso

Chizuru Oikawa

The Planet in Love

Christine El Ojeil

Christine El Ojeil is an international artisti whom artistic expression has deep roots in her childhood as she was fascinated by the art of painting since she was a child and she painted on pieces of wood that her father brought back from his carpentry shop. Christine El Ojeil is, for the first time, a guest of an exhibition organized by M.A.D.S. Art Gallery and on the occasione of “DE-CRYPTICart” she exhibits three pieces with an incredible dream atmosphere. "Evasion" and "Solidity" are representations of masks.

Masks are the main symbol of art as they have the ability to hide reality and transform it into something totally different. From a certain point of view these masks are disturbing, these expressions are ambiguous and the observer perceives hidden sensations. Regarding “Evasion” the artist states “True emotions concealed, Escape behind the smile.”. We know that nothing is as it seems, we have to interpret, understand and find what people hides in order to accept the real person behind the mask. “Golden Age” is a different piece, it’s like a celebration of the past and of the ancestors. The artist is giving her roots a reward, she underline the importance of whom came before her. She is telling us that everything we have today is thanks to whom fought and learnt from time and experiences. The legacy of those who have gone before us must be celebrated and preserved.

Art Curator Martina Viesti

Christine El Ojeil

Evasion

Christine El Ojeil

Golden Age

Christine El Ojeil

Solidity

Dark Glitch The concept of personal identity designates the consciousness an individual has of remaining the same through time and through the fractures of 'experience. For John Locke, identity is a certain organization of matter, which survives the turnover of particles, which associate with and depart from our bodies. Identity for the philosopher and physician, cannot be the soul, for otherwise a soul could reside as much in man as in a pig. Man then following this description, is not just a mind. Once this point is clarified, Locke addresses another problem: what is a man. According to the most traditional definition, man is a rational animal. Locke, however, disagrees with this definition. For him man is not only to be defined by his body presence.

Dark Glitch When we speak of man we mean a specific animal, we refer to a certain body and spirit. This identity is such and true only under coexistent conditions of spirit and matter. But what happens if matter presents itself in collapse? How is the truth of spirit recognized if it is not contained in its own assigned body?

Dark Glitch imagines and presents to us a place of the body where matter is annihilated, dissolving under its own thought and will; its digital paintings open the door to the search for the most extreme act of analysis and consciousness: self-cannibalism. His non -faces seem to be melting and dripping into their own mouth. The artist's own identity and image become nourishment for a winning spirit vis-à-vis the inhabited matter. These self-made masks invoke an ancestral inner presence, called to say: this is who I am.

Art Curator Erika Gravante

Dark Glitch

Collapse Inside

Dark Glitch

No Face

Dziuginta Didziokaite “The more we can get in tune with the harmony of the planet, the more our art can benefit from that relationship”. (Rick Rubin) The painting of artist Dziuginta Didziokaite is nothing but impulse that takes shape through thought and a touch of rationality, a process that develops unexpectedly and changes as it goes along because there is nothing planned in the mind of the creator. It is an autonomous and intuitive path that knows no premeditated plans but develops free to follow instincts and impulses to let its most authentic part emerge. Painting thus becomes an expression of the self, of variegated and complex inner worlds, where unstructured lines and shapes let themselves be carried along in the wake of the creative impulse. Just as if the painted figure of the artist were telling us something about herself, telling us her story, speaking to us. The figure of the 'Biology Teacher' with the bouquet of flowers in the foreground is outlined by thin lines that contour the figure, the colours are light and the brushstrokes make the figure sinuous. The artist's focus is not so much on the physical likeness of the subject as on its interiority with its eternal, melancholic character. The off-centre position of the figure in relation to the axis of symmetry contributes to making it lively, dynamic; in fact, the teacher leans slightly to the left, while the line of the wall tends to the right, this contrast gives life to the representation. In this way the flowers in the foreground stand out, contributing to the dynamism and colour of the entire composition in contrast to the indistinct, cold blue background interspersed with grey, green and white-yellow brushstrokes on which the seated figure stands out.

Art Curator Giulia Fontanesi

Dziuginta Didziokaite

Biology Teacher

Erica Pecar "The artist is the one who fixes and makes accessible to other humans the spectacle in which he participates without realizing it.”

(Maurice Merleau-Ponty) In consonance with philosophy, the concept of Mystery has a Greek origin and means a sort of hidden reality. Erica Pecar, Italian artist, anticipates a new plastic sense in her creative process: to her, painting means to find and validate the metaphysical atmosphere that permeates human existence, a mechanism which is characterized by the artist herself as “art [should be perceived] as research and investigation of the signs and enigmas of creation”. Her work conveys feelings, such as love for wisdom, love for seeking, love for life and creation. Plateau understood this hidden mystery as wisdom itself or a possibility of the union of the soul with the transcendental. Erica, in turn, accumulates many sources of knowledge and studies in diverse themes such as esotericism, philosophy, numerology, mythology, history, sacred geometry and arithmosophy for the composition of her “search”. Thus, we can dare to step into the unknown, experiencing various sources, which are presented to us, like an inheritance. We approach the mysteries when we live, since,to some extent, the mysteries are kept in us. Erica presents us with symbolic and geometric elements, as well as human figures in different contexts and situations that leads us to the artist's own reflection.

Erica Pecar In a large part of her work, Erica explores primary colors together with brushstrokes and quick strokes, a new style, a new interpretation of two-dimensionality. The geometrization of shapes, offers the viewer parts of the same plane, either in the center of the painting or on the upper side. Letters and numbers represent a kind of duality between heart and mind, thought and emotion. Human figures are in a cycle of imprisonment,on account of their suffering from non-acceptance of themselves and the natural force ofcircumstances. Nature, an important concept in the artist's production, is the symbol of the cycle of life and time, as a bearer of experience and as a universal original force. The human being, the only being capable of feeling andbeing felt in the world, is either sensitive and sensed. In agreement Merleau-Ponty: “My body, it was said, is recognizable by the fact that it gives me “double sensations”: when I touch my right hand with my left hand, right hand as na object has this singular property to feel, itself.” A mixture of discontent, curiosity to discover the Hidden enigmas in the world, to encounter invisible energies: it is in this territory in constant change and evolution that Erica Pecar's powerful creation has been born.

Art Curator Barbara Magliocco

Erica Pecar

La transcendenza degli equilibristi

Erica Pecar

Prima la terra, poi il cielo

Eunjeong Shin(Yujeong) “Poetry is when an emotion has found its thought and the thought has found words.”

(Robert Frost) Words to describe images; shapes and colors to elicit words. Eunjeong Shin(Yujeong) is a South Korean artist who creates original literary paintings to honour the traditions of her country. “door” was created in 2022 with the coloring and silver foil technique on Korean paper. A white background on which geometric figures, lines alternate… and then there is it: a small bird with red feathers leans on a branch which, starting from the right, almost entirely crosses the sheet. It turns its gaze to the right, what is it looking at? Is it choosing the next destination it wants to fly to or just watching a friend come to keep it company? The title of the work is very evocative: the door is the metaphor of opportunities that open up before us and chances that we leave behind. Life is a carousel in which joys and pains, victories and disappointments, moments in which we are the absolute protagonists and others in which we have to settle for being just an extra. It takes courage to close a door and leave everything behind, but also to open it and discover what awaits us. Our inner world is deep and full of nuances to be discovered gradually. Follow your thoughts and your sensations: you will come across roads where you will know the direction to follow and others where you won't know where to go at the crossroads. Go on a journey within yourself and choose which doors to open. Eunjeong Shin(Yujeong), her poems and works are by your side in this magical adventure.

Art Curator Camilla Gilardi

Eunjeong Shin(Yujeong)

door

Fabi “Art as mirror of mind, through colors to emotions". (Fabi)

This sentence by the artist Fabi recalls in some ways what was said by Kandinsky in 1910 in the first book that theorized abstract art "The spiritual in art": "the artist must fix his eyes on his inner life, listen to the inner need". Abstract art deviates from the punctual representation of nature by giving more prominence to the expressive power of color and pictorial matter free from the limits of form. As for the abstract painters of the twentieth century, in Fabi's artworks color also becomes a vehicle for the artist's inner messages. In her canvases the colors are distributed on it with brushstrokes that overlap each other, as if arranged by unconscious automatism, as for the artist of the New York School. The first work by Fabi in this exhibition is "Night Thoughts" and refers precisely to the unconscious and to the thought of man. Here the dark colors dominate, perhaps to recall the night hours, which however clash with bright shades of red, yellow and blue, perhaps the representation of a journey of the mind that makes its way and light into the artist's nocturnal thoughts.

Fabi

In "The Woman's Revolution", the second work on display by Fabi, the protagonist is the color pink which is imbued with strong sociological symbols. In fact, since the second half of the 20th century, pink has been associated with the feminine sphere. In the past, however, pink was associated with the masculine because was considered a shade of red, a color that conveyed strength, passion and therefore also virility. Pink therefore is a color that can be appreciated as much as hated precisely because it is relegated to connote the feminine often in a discriminatory way. "The Woman's Revolution" by Fabi is the spokesperson for all those who yearn for a world free of discriminations.

Art Curator Eleonora Mannarino

Fabi

Night Thoughts

Fabi

The Woman's Revolution

Flavio Borrelli

Flavio Borrelli is an Italian artisti and architect. He is a “traveller” artist as his artistic expression travels trough countries and disciplines in order to create thanks to the encounter between diversity. "The movement of my work is expressed with different techniques and purposes, supporting the importance of manual skills in creative processes and enriching itself with a constant exchange between the domain of art and that of architecture…." The artist states. Flavio Borrelli is, for the first time, a guest of an exhibition organized by the M.A.D.S. Art Gallery and on the occasion of “DE-CRYPTICart” he exhibits “Seven Souls” a design work that unites design, architecture and sculpture. This artwork born in an abandoned garden, the artist explains that anything was there before no a tree, no life at all. The realization begins thanks to the use of an ancient technique thanks to which the earth was used as a mold for the creation of terracotta bowls. Borrelli wanted to create something that was like a wall in order to stop the view, but, at the same time he wanted to create something that was beautiful to see. From that vision “Seven Souls” get into life. those seven slabs of earth placed in a semicircle seem to talk to each other, each one is connected to the others. The colors and shapes are dynamic, this artwork is full of movement and lines, every detail is perfectly balanced with the whole artwork.

Art Curator Martina Viesti

Flavio Borrelli

Seven Souls

Francesca Agosta "Art is when the hand, the head, and the heart of man go together."

(John Ruskin)

Francesca Agosta is an artist who comes from an artistic education, but the vicissitudes of life and volunteer experiences brought her, at a certain point in her life, to completely change direction, so she graduated in Occupational Therapy, medical school health profession. Despite this, the Pandemia period made her aware of the importance of art and artistic creation for her, and so she started creating.

"Galassie" is an artwork that best expresses her artistic poetics, focused on inner rediscovery and on the relationship with the world and, above all, with the nature that surrounds us. The sea and other natural elements are the primary interlocutors and she lets herself be guided by her own emotions, sensations to create artworks that reflect her relationship with the concrete world. Mystery, depth, infinity but also introspection, inner discovery, travel. Francesca Agosta's art speaks to us about this, about the union between two worlds, one internal and one where Nature is the undisputed protagonist.

Art Curator Federica Schneck

Francesca Agosta

Galassie

Fumiko Binn They say that art is also magic. In fact, if we want to reason broadly, art takes us into an emotional dimension that goes beyond strict rationality. And so, in this sense, art takes on a connotation that is beyond a plane linked in a direct way to reality. Ethereal and labile atmospheres reveal themselves before our eyes. Delicate patches of color alternate on each other knowing each other and never overpowering one another. Fumiko Binn's art is delicate chromatic balance that results in an alchemical dance composed of patches and rivulets of color. Imaginary elements blend with elements from the world of the real producing works that smell of mystery and enigmas. "Magician of greens" is, in this sense, an emblematic work. The strongly vertical composition accommodates long figures that stand between reality and fantasy. Part magical beings, part natural elements, the work's protagonists seem to dance on an almost transparent brown background. In the center of the composition is a figure with almost human features with outstretched arms and long fingers that fan out. She seems to be dancing accompanied by another subject who, very tall, arches in on itself going to occupy the entire space of the work. All around, vegetal and lush elements: grasses with long stems rise from the ground and green, life-filled leaves fall from the top of the representation. The contrast between the burnished color of caramel and the delicate hue of pastel concurs to create an extremely ethereal and refined result where each element coexists and survives in total symbiosis. The work is imbued with magic, leaves and trees come to life and the air vibrates with enchantment. Fumiko Binn evokes through her works soft, tranquil and at the same time mysterious and smoky scenarios. In "Cosmic Flower," the title and representation refer to archetypal concepts such as the universe and life. The work is dark, imbued with brown color and characterized by brown spots that tend toward black. Below them, a hazel-colored cloud expands throughout the work, creating an impenetrable curtain. Yet this sense of infinity is balanced by the presence of threadlike elements towering above the chromatic nebula. Like lights in the darkness, flowers with long, delicate petals rise throughout the work bringing the viewer's mind back to reality. Their golden limbs reflect light throughout the work making even the dullest and darkest darkness shine and visible. Fumiko Binn's art, through the continuous journey between smoky and enigmatic atmospheres and elements from the everyday world transports us to universes to explore, worlds and situations bordering between reality and magic.

Art Curator Lisa Galletti

Fumiko Binn

Cosmic flowers

Fumiko Binn

Magician of greens

Fumiko Binn

Plants in the new wind

Gayle Printz Gayle Printz is an American abstract artist who recently entered the wonderful world of art, immediately demonstrating her extremely creative and original artistic skills. Her artistic sensibility transcends all boundaries with her innovative style yet anchored in the contemporary painting tradition. Gayle likes to let her works be subjective, allowing the viewer to become completely immersed in them, creating an intimate relationship that touches the human soul. The technique he uses to paint is extremely contemporary. The colour has no boundaries and moves across the canvas as if in an endless emotional dance. The artist offers different points of view of a single work, contributing to the intrinsic magic that her works convey. She explores freedom of expression by offering different perspectives of her creations, encouraging the viewer to push his or her limits, stimulating his or her imagination. In her painting 'CLIMB', the artist celebrates the beauty of life through countless abstract brushstrokes that move harmoniously within space. Colours intersect, creating new colour combinations. The hues are bright and metallic. Gayle gives free rein to his creativity, creating a network of brushstrokes that reflect an inner state. One of the meanings attributable to the work could refer to overcoming the difficulties of life, the obstacles that fate puts in front of us to make us better appreciate our journey. Human existence is a complicated web of subjective difficulties that nevertheless remind us of how wonderfully complicated life is, so full of beauty to be discovered. No matter how difficult the climb, the view will be wonderful. In the painting 'UNICORN', Gayle focuses on shades of green and blue, creating a harmonious and balanced whole. The oblique brushstrokes in the foreground give dynamism and movement to the canvas. The rendering of colour is textural, and hues are dense. The artist is able to paint the landscapes of the human soul beautifully. The viewer is enchanted and intrigued to discover all and sundry hidden within Gayle's enigmatic creations. In 'FLAMINGO' the boundaries of art are broken, giving free rein to the magic of colour. The colours are bold, brilliant. Yellow illuminates the composition and mixes perfectly with green. Purple bursts in and restores the colour balance. The pigments blend and create an energetic, vital mix. The colour is free to move, to play. Contrasts, plays of transparency and overlapping are created. Gayle proves to be a skilled artist capable of reinterpreting the intrinsic emotions of the human soul. She manages to bring out the most intimate sides through her liberating and spontaneous painting.

Art Curator Ilaria Falchetti

Gayle Printz

UNICORN

Gayle Printz

FLAMINGO

Gayle Printz

CLIMB

Hibiki Matsubara Hibiki Matsubara is a young Japanese artist who explores the multiple expressions and impressions of human creativity through his creative compositions. He starts with a concert and then develops the entire artistic process centred on the search for that 'something' from which inspiration springs. His art pays homage to this stimulus, representing through brushstrokes and abstract forms what 'desire' means to the artist. In his work 'Multiplex Faces', the artist develops the theme of human emotional multiplicity. He deals with a delicate and immersive subject through the use of bright, saturated colours. Hibiki explores the human soul starting from childhood, using pastels that lead back to that innocent and playful world that characterised everyone's life. In this way he creates a direct and deep connection with the viewer who, driven by curiosity about this enigmatic work, wants to discover more. Hibiki focuses on the whirlwind of emotions that runs through any man at any stage of his life. It is a sentimental mixture that only those who go through it can see. That is why he draws a fragmented form of multiple faces that sometimes overlap, contrast or complement each other. Countless different human faces are channelled into a single explanatory image. White, which encompasses all colours, is a symbol of cohesion and unity. The artist then uses a very bright pink background to highlight all the other pigments used. He then encloses everything with a blue frame, the colour of spirituality and mystery. The colours are spread in flat backgrounds, devoid of impactful hues. Hibiki reminds viewers that it is normal to feel conflicting, often conflicting emotions. This multiplicity makes us unique and inimitable. The innocent and pure white contrasts with the few black elements that balance the chromatic exuberance of the other acrylics.

The artist plays with contrasts to reflect the intimate and spiritual swirl of the human soul, highlighting the fragility but also the strength of man. Art for Hibiki is desire, energetic and passionate. Art and inspiration is contained in anything, object or person. Everything around us is potentially art.

Art Curator Ilaria Falchetti

Hibiki Matsubara

Multiplex Faces

Hisa

Works capable of evoking past atmospheres and sweet memories. A few elements represented in a simple and concise manner combine to create a work that tells a story to the viewer. A tale that is not told through phrases and words but rather color and form. In this sense, the story begins and ends within a single small painting that contains, within it, all the information necessary for the unfolding of the narrative. A winding stream winds its way through the entire composition. The cut of the representation is diagonal, and the latter can be considered the actual skeleton of the work.

In fact, all the rest of the elements lie and take shape on the canvas following the sinuous banks of the stream. Small oviform elements pile up to each other going to build an improper perspective that gives character and singularity to the work. They are trees with vivid emerald green foliage. Their extremely minimal and perfect form shines below the ethereal yellowish light of the moon hovering high in the leaden night sky. Its yellow color fires our eyes and illuminates the protagonist of "Night angling." At the center of the composition is a bear sitting on a stool. He is intent on fishing during a night angling session. His gaze is hidden by a pair of thick round glasses, in his hands he holds a fishing rod, and beside him is a bucket and a bonfire. A little further on is a tent, his bed for the night. Hisa with this work effectively reworks the reality and the very nature of the bear. Indeed, the animal is by nature a great hunter of fish. He dives into the icy streams to grab, with his long fangs, the unfortunate salmon, biting them. The artist plays with this peculiar ability of bears to obtain food, and she does so by depicting a bear with distinctly human characteristics. It is a bear who, sitting down, is fishing and, what's more, wearing a sweater and a pom-pom hat. The wonder of this work lies precisely in this: in the natural unreality of this representation where the natural element is juxtaposed with the fantastic element producing a unique result and a fascinating and irreverent tale.

Art Curator Lisa Galletti

Hisa

Night angling

Ilona Dovhan "You make your choices and your choices make you."

(Friedrich Nietzsche) The art work “In-Decisione” by Ilona Dovhan, a Ukrainian artist settling in Italy, carries a kind of dialectic between good and evil in it. The central figure is found in such ambiguity which has been experienced by anyone many times during life: the ambiguity of choice. The subject is a being who has the power of choice in the face of infinite possibilities. Nevertheless, is the power of choice actually something good? The power of choice can lead to the human feeling of anguish, as every choice implies a loss and some mourning. Indecision appears because the human mind always introduces possibilities, which leads that subject to seek a synthesis that only exists in its mind and not in reality. From the point of view of the individual, one doesn't experience needs, one experiences decisions. In the face of the repression of error, anguish comes in an attempt to make choices that cannot, under any circumstances, become mistakes. Guilt is a feeling that is directly linked to the power of choice and that goes hand in hand with responsibility and fear. In the work, Ilona Doyhan composes a game of equivalence represented by four hands on the centralized figure. Likewise, the light created by the artist in the work transports the viewer's gaze to the reflected and enlarged image at the base\bottom of the painting, where the artist paints in a palette of shades of blue that mixes in\with the brushstrokes and textures created with acrylic paint. Such palettes refer to the experiences that human beings have during life; the gray monochrome portrays difficult occurrences in juxtaposition of the colorful aspects on the left side that depicts pleasurable experiences. The centralized figure which divides the opposite sides is purposely established as a kind of polarization. Choices can also be seen as experiences, which are characterized by the luggage that the artist paints in her work. Nietzsche would say that desire can be a good criterion and adviser for decisions, because when you choose something that is moved by Eros, by love, by the impulse of life, by what moves you, it is certainly something that makes human beings feel alive. We are rational beings, yet, standards and values can change the chosen path. Therefore, the free man is the one who not only is able to establish his values, but also identifies himself and throws himself into life with all its nuances, difficulties, uncertainties, whether beautiful or tragic.

Art Curator Barbara Magliocco

Ilona Dovhan

In-decisione

IRO Splotches of color settle on the canvas, irreparably staining its snow-white surface. One blotch, another and another and there is no going back to the original stage. The color layering becomes more and more pronounced thus going to form a blanket of pigment that covers almost the entire work. IRO's art is color thrown onto the support, it is blobs of pigment that expand and merge with the rest of the color is colored spray that overlays the composition. An iridescent atmosphere illuminates our gaze. In " " a large chromatic stain lies on the support producing numerous shades of pigment. The memory goes irrevocably to the vision of an oil stain that varies its coloration depending on the rays of light striking it. Oil stain, surface of a precious gem, iridescent matter that, with its varying tones awakens our senses. The eyes are electrified by the vibrancy of the purplish hue only to calm and rest as we watch the stain turn brownish. The gaze observes the work and then settles on raised elements in the center of the composition. Their appearance is bluish and decidedly raised. The impression is that of looking at mineral concretions that have formed over millennia. The large chromatic stain has as many faces as its meanings. And our eyes keep seeing and formulating new meanings and hypotheses. Suddenly, we are dazzled by a white space. It is the surface of the canvas that has not yet been encompassed by color. Yet, the fate is already sealed and it will not be long before the serpentiform pigment engulfs the entire canvas. That's right, rivulets of color and splashes of purplish pigment stain the whitish surface, flooding it with expressiveness. In this case, the composition of the work is all about balancing color and empty space: the canvas can still breathe and the latter presents, however briefly, its own autonomy. In "Disappearance," the formal balance more than dictated by the balance between empty and full space is regulated by the color patches themselves. Unlike before, color becomes the skeleton and flesh of the composition. The outcome is highly expressive and is all played out in a series of contrasts between the color tones and especially between the ways in which the color is applied to the canvas. The heterogeneity of the color stain is in fact modulated through a series of formal devices that allow the work to produce a totally alienating effect. Indeed, the viewer is enraptured by the play of perspectives caused by the extremely evanescent and vaporous stains that characterize the backdrop in contrast to the shiny, raised splashes in the foreground. The focus of the composition is thus in motion: first settling on the violet speckles then finding stillness in the smoky, pinkish cloud below them. IRO creates works that, through the iridescent element or plays of perspective, allow for the formulation of infinite modes of vision. Although the artwork is still, solid and finished, there is a sense that, in these works, something is slowly and inexorably moving.

音重

Art Curator Lisa Galletti

IRO

Disappearance

IRO

Immerse

IRO

音重

Jamilee El Doueihy

The artist artworks are infused with energy and life expressed through the use of the colors and the shapes represented in the paintings. The brushes’ touches give dynamism to the compositions: it’s like fuel is given through them. The colors are vibrant and run throughout the canvas, while the subjects looks like they are animated and take the spectator in a vortex of creation. We can see influences from the Abstract and Expressionist Art through the strong positioning of the colors and the subjects: even though these ones look like they are just marked out, you can still feel their presence and aura. The artist draws inspiration from the everyday life and interprets it through the lenses of her soul: each artwork is infused by the artist’s imprint. A clear drawing is not necessary: you need to focus on the artist message of peace and collaboration between human beings and communities.

Art Curator Federica D'Avanzo

Jamilee El Doueihy

Joyful Spring

Jamy Kahn

Jamy Kahn is a fine artist based in Los Angeles, California, she is known internationally for her great ability to convey deep emotions trough her pieces. Her main artistic fascination derives from abstract art.

Her main realization technique is the fusion of color, the creation of shapes and the use of words. The artist transforms her thoughts into art, searching her inner truth and feelings and making them colors, shapes and artworks. Jamy Kahn if again one of the guests of an exhibition organized by M.A.D.S. Art Gallery and during “DE-CRYPTICart” she exhibits five artworks completely new and different. Four of the five pieces exhibited are geometrically relevant from a symbolic point of view, geometrically relevant from a symbolic point of view, in fact the cone or the truncated cone are central in the artistic realization and in the pictorial interpretation of nature, exactly as Cézanne stated. These four works seem to represent cups, from here we could have a real reference to Pop Art, but from a certain point of view they can also refer to still life. The last work exhibited is "KYS HOUSE", which is a 3-dimensional realization created with acrylic on canvas and wood.

Art Curator Martina Viesti

Jamy Kahn

A STIRRING

Jamy Kahn

Clairvoyant

Jamy Kahn

KYS HOUSE

Jamy Kahn

MUNDO DE ORO

Jamy Kahn

QUANTUM LEAPING

Johanna Marika Thoms "I like to let my creativity speak for me, the painting process fascinates me and creates unique figures and shapes." (Johanna Marika Thoms) Johanna Marika Thoms was born in Magdeburg, Germany. As a child she was interested in colors and different materials, she was inspired by observing images and illustrations that were present in the visual landscape of everyday life, so she decided to start her artistic journey. Today Marika is an artist, illustrator, graphic designer and art therapist. Her works present themselves as amazing combinations of colors, illustrations, graphic and painterly works in abstract forms are her passion. She lets her creativity be like her word, creating unique shapes and figures. As a support material she uses canvases of raw cotton, on which she applies acrylic paint, chalk, pastels, charcoal and graphite drawings, the result of which is a work that creates a dreamy and ethereal atmosphere.

Art Curator Giulia Battisti

Johanna Marika Thoms

Orange Back

Jolanda Walther "The soul becomes dyed with the colour of its thoughts.” (Marcus Aurelius)

What does it mean to defrag your mind, rework it and finally visualize it? In the messy chaos of chasing thoughts, Jolanda Walther offers the unique possibility of showing them as a concrete whole and admiring them in their clearest essence. The artwork My thoughts admired during De-Cryptic Art - is above all an extraordinary example of self-analysis, which does not try to embellish the fruit of the immagination with daring metaphors, but presents them before our eyes for what they are: a series of numbers, phrases and faces symbolically hang on the wall. Through these unpredictable juxtapositions, the artist also manages to give an idea of the frenetic labor of the intellect, which moves by associations of ideas, by sudden thoughts or by lengthy reasoning. This fundamental aspect of thought is emphasized to the max by the collage technique, which by definition brings together apparently inconsistent elements to create a unique effect. Jolanda Walther thus manages gives life to a completely singular work, and she allows the opportunity to literally dive into her thoughts and to perceive in the artist's will a real poetic as well as liberating intent. The artist realizes her catharsis in art, and uses her own inspiration to give life to a particularly intense creative moment, which fascinates the eye and above all the imagination.

Art Curator Chiara Rizzatti

Jolanda Walther

My thoughts

Joseph Géoui Imagination is the beginning of creation. You imagine what you desire, you will what you imagine, and at last, you create what you will. (George Bernard Shaw) Approaching Joseph Géoui's art means entering a universe with unpredictable and constantly changing contours. Each work adopts a unique language, both from a technical and semantic point of view, favoring an extraordinary immediacy in grasping the artist's hidden message. It is possible to admire this mesmerizing versatility of colours, styles and contents in the works presented during De-Cryptic Art, which constitute a veritable journey through audacious chromatisms. The starting point is PERSONA, a veritable "fan" of acrylics that departs from the lower part of the work in dense brushstrokes. The sumptuous composition recalls the exuberant decorations of a mask (persona, in fact), whose colorful draperies are broken up by two candid almond-shaped openings. They catalyze the observer's gaze, who remains hypnotized by the ineffable mystery hidden by the mask. The journey indicated by Joseph continues with PERSPECTIVE, which projects us into an almost dreamlike dimension, in which figures and geometric shapes chase each other on a background divided into chromatic sectors. The elusive concept of "perspective" coincides with the nature of the artwork, which seems to change at every glance. The result is an astonishing moving ensemble permeated by a playful atmosphere, which contrasts with the gloomy hues of SUPERNOVA. In this case, the artist detaches himself from the lively scenarios of his previous works, and transports the imagination to admire the blinding glow of a supernova that pierces the darkness of space. Joseph Géoui shows his artistic maturity in this peculiar return to essentiality, which doesn't seem just a creative choice, but a real visual philosophy.

Art Curator Chiara Rizzatti

Joseph Géoui

PERSONA

Joseph Géoui

PERSPECTIVE

Joseph Géoui

SUPERNOVA

Judith Yahaya Judith Yahaya is a Nigerian visual artist with originality and creativity. She works mainly in acrylic, producing works that are somewhere between the figurative of form and the abstract of concept. She is inspired by everyday life, by any element that surrounds and inspires her. She examines important themes, focusing on communication, the social situation and human psychology. She explores human emotions, analysing the environment in which people make connections every day. Judith puts the search for identity and gender issues at the centre of her work. Her creations are original and feature bright colours, dynamic shapes and elements of African culture. The artist uses art as a means of denunciation but also of research. Through acrylic brushstrokes, Judith traces the issues of modern African society, addressing impactful and profound themes. The viewer is invited to dig deeper and not remain on the surface. Her subjects are extremely connected to the environment they come from, as in the work 'Looking yonder'. The woman depicted looks beyond, with a gaze full of pathos and conflicting emotions.

It is the gaze of someone who fears the future but at the same time is ready for new challenges. The colour brown dominates the scene, contrasted by bright yellow, the green of the lush vegetation and the bright blue of the sky. The different textures create movement and three-dimensionality, adding to the realistic rendering of the work. Spiral shapes with a material texture appear in the sky. They emerge from the are to signify change, rebirth. The realism is meticulous. The details are surprising, studied. Every shadow, perspective, element is realistic and perfectly realised. Judith with her art inspires the audience, spurs them to change and reflect their inner soul. She invites them to open up to new experiences, welcoming what life and destiny offers us every day. The key to changing perspective is to look at the world with different, less superficial and deeper eyes. Her art is immersive and profound, full of stimuli.

Judith aims to instil awareness and important themes through the medium of colour. She proves to be a creative artist who is deeply connected to her origins and to the contemporary world, which she represents through an innovative, youthful and modern style.

Art Curator Ilaria Falchetti

Judith Yahaya

Looking yonder

Juliana De Leon Art, for me, is a context to slow the viewer's experience from their everyday life in order to think about things they haven't thought about.

(Juliana De Leon) Without the ability to actualize an idea or concept Art does not exist. Her work is a constant search for the best way to interpret ideas that she has about the world she lives in. The artist doesn't limit herself to one style or concept, because Juliana thinks we are constantly changing and art is also about that. Her pieces or collection are related to her obsessions and the moment she lives. In Animal Archetype Collection Juliana wants to express the meaning of Animal Archetype. This collection was inspired by The Archetypal Symbolism of Animals (book) and also the way she see the colours. The artist tries to find a funny and cute way to Illustrate the Animal Archetypes she likes the most. Juliana is in love and obsessed with drawing with ballpoint pens, and she loves the way the drawing looks with contrast colours. in Monkey with 3D glasses having fun, the animal is some of our closest relatives on this planet. As fellow members of the primate family, we often recognize ourselves in these creatures. Monkeys remind us of our connection with nature. They demonstrate that humanity is not so far removed from the animal kingdom as we may sometimes believe. With Black Panther with Fire Glasses, the panther symbolizes courage, valor and power. The panther is the symbol of the mother, the dark moon and the power of the night. The smoker Goat with John Lennon glasses, the goats just don’t quit! The animal symbolically represents ideas relating to abundance, modesty, success in solitude, free spirit, and resilience. All of her artworks are drawn free-hand. Working with ballpoint pen, pencil, color pencil, acrylic paint, and digital drawing. Drawing and painting Animal Portraits and Humans Portrait, using a lot of colors and black withe. Using Media Mix canvas paint and drawing on paper

Art Curator Giulia Battisti

Juliana De Leon

Monkey with 3D glasses having fun

Juliana De Leon

Black Panther with fire glasses

Juliana De Leon

The smoker Goat with John Lennon glasses

Jullia Kim “The series of Hawaiian Skies are 10 paintings in one series that I had intended to be exhibited to show because I wanted to show them hourly variation.” (Jullia Kim)

Jullia (Minjeong) Kim was born and raised in Seoul, Korea. Her dream, which began at the age of five, was to become an established artist through drawing abstract paintings and continuing art education. Today she is exhibiting three works from the Hawaiian Sky series at the international art exhibition DE-CRYPTICart in the international art gallery M.A.D.S. Research is the key word in Jullia's work: the search for light, the colors it generates and the atmospheric transformations it brings about. This work has the historical precedent of a great master of Impressionism, Monet. The Cathedrals of Rouen is a great work of his in the search for light. In this case, the Impressionist matrix is mixed with a love of nature and in particular the sky. His work on the Hawaiian sky is a method of capturing the various wonderful, breathtaking and impressive colors of the Hawaiian sky in 24 hours a day, capturing only the characteristic parts of the sky, not the whole sky, and expressing them on a small canvas. A work that goes beyond the representation of nature, but delves into feelings, human emotions.

Jullia dialogues with the viewer, and her dialogue is extremely profound and comforting. The idea comes from the time of the COVID 19 pandemic, in fact, Kim portrays the view of Hawaii's pristine sky from the lanai (balcony) of her Honolulu home. It is a great response to isolation; Kim seeks dialogue, albeit with nature. At a later date she will also find it with the viewer. Kim presents us with three of his wonderful 10 paintings The circle in the center represents the Sun, the Earth and the creator's center of gravity. The palm trees in the circle depict the unique Hawaiian sky she is experiencing and Palm Sunday celebrating and honoring the victorious entry of the creator's son into the Holy City.

Art Curator Mara Cipriano

Jullia Kim

Hawaiian Sky - 9am at Waikiki beach

Jullia Kim

Hawaiian Sky - 3pm at Waikiki beach

Jullia Kim

Hawaiian Sky - 10pm at Waikiki beach

Jungwon Park

Jungwon Park is a Korean artist and photographer whose artistic expression finds great strength in the aesthetics and energy of the images he captures. Each photographic work of the artist has a melancholy atmosphere, this characteristic is decisive in the shots of the artist who prefers soft colors, blurred effects and calm and sweet lights. Jungwon Park is once again, a guest of an exhibition organized by M.A.D.S. Art Gallery and on the occasione of “DE-CRYPTICart” he exhibits two pieces in which flowers are the main subject. Both photographs are full of movement, this effect is given by both the blurring and vignetting of the image.

Jungwon Park

In the work "110413_3_4" the red of the flowers is the main color, these flowers reminds to red poppies, very important flowers in art and extremely represented by impressionist artists such as Monet and Van Gogh. In this pieces the atmosphere is vivid and full of energy, these emotion are conveyed by the red color which symbolize blood, passion and life. "110814_1_5" has yellow as its main color, in this work, however, the atmosphere is more cheerful and joyful due precisely to the yellow daisies which give a sense of vitality and brightness, as yellow is the color of the sun and of the energy of light.

Art Curator Martina Viesti

Jungwon Park

110413_3_4

Jungwon Park

110814_1_5

Justin Chan We have the honor to know already the photography of Justin Chan, who for the exhibition "DE-CRYPTICart" organized by M.A.D.S. Art Gallery, chooses to exhibit five works that fall into different conceptual strands but, paradoxically, they embrace for associations. The origin of the universe, alternative worlds, aliens, bright skies and dark skies, desolation and extraterrestrial calls: these are the different characteristics that we find in the exhibited works, which seem to be part of an album of research, curiosity and investigation, to go beyond our world and admire that "elsewhere" that so fascinates and intimidates at the same time. " THE TRUTH IS OUT THERE" represents the coming of the other-worldly race, with bright sparks and light beams. It is incredible the artist’s ability to create an atmosphere completely alien to that of planet Earth: a post-apocalyptic climate permeates the whole picture, creating in us a sense of instability, as if our planet had really been invaded. "WE ARE NOT ALONE": a photo, a sentence that heartens and, at the same time, transports us into another reality, perhaps dangerous. A dark and dark landscape, desolate and perfectly still and still. Yet, those white circles in the sky, they do not look like stars, but omens of new arrivals. We are faced with a spectacular shot, capable of leaving the observer speechless, enchanted by that almost dystopian background. "IN THE BEGINNING..." It almost looks like a flashback, a narrative glimmer that explicitly represents everything that for us is identifiable with UFOs. Here, too, the choice of black and white prevails, with some chromatic flashes, as if to reflect the conditions of a spectator in processing with respect to what he is witnessing. "SECRET OF THE UNIVERSE" revolutionizes the stylistic and chromatic choices exposed until now, proposing clear and well-defined colors. The central oval shape seems to want to collect the most important parts of the painting and is able to create different depths: thanks to this union of shapes and colors, the artwork looks like a real metaphysical vision. "STAR WAR" follows the trail and style, focusing on colors such as purple, blue and green, and leaving the geometry and three-dimensionality of the most important roles, showing the on-going struggle of the Universe. Justin Chan, with his photographs, can tell and write visual poems, as if he were drawing what our imagination creates in our mind when we are in front of the pages of a book, and the extraterrestrial theme seems to fully enhance its capacity.

“I continue to break traditional photographic boundaries.”

(Justin Chan)

Art Curator Sara Grasso

Justin Chan

THE TRUTH IS OUT THERE

Justin Chan

WE ARE NOT ALONE

Justin Chan

IN THE BEGINNING...

Justin Chan

SECRET OF THE UNIVERSE

Justin Chan

STAR WAR

Karen Bjerg Petersen

The artist Karen Bjerg Petersen presents on the occasion of the international art exhibition m.a.d.s.art gallery three works. In each work we can see a different style and language used. She can use abstract technique but also installation style, with various mediums and tools. At the same time the intention beyond all the representations and composition is the will to express herself and her emotions. In the first work titled Aros, we can see on a homogeneous background different shapes and forms. The way she represents these forms reminds me of the idea of graffiti in the caves. With these beautiful brushstrokes we can see how the art wants to be real and essential. Wants to reveal the deepest reality of the artist. The second work is titled Woman and in fact we can see a representation of a face of a woman. The way the artist represents this face is abstract, she doesn't want to represent this image in a realistic way but in the impressions she has about this vision. So we can also see on this occasion various shapes and forms that together create the image of this face. The third work titled Net, is completely different from the other two. On this occasion the artist wants to be really near to reality in fact we can see tautologically a net that represents a net. The observer has no doubts watching this work, because the artist seems to be intending to represent the things in the way she sees it. In this way she is able to share with the observers the suggestions and the emotions that come from the observation of a net. Even if the compositions of the artist Karen Bjorg Peterson are different, we can understand how she is able to communicate with the viewers creating an interaction in which the object of the sharing is the deepest part of her.

Art Curator Elisabetta Eliotropio

Karen Bjerg Petersen

AROS

Karen Bjerg Petersen

Woman

Karen Bjerg Petersen

Net

Karma Castilho "Colors, like features, follow the changes of emotions."

(Pablo Picasso)

Karma Castilho, a qualified hypnotherapist, is an artist capable of bringing her feelings and everything she has learned and practiced through her profession back to the canvas. Through the use of the hands as a real work tool, the artist creates a thick texture initially formed by pasty color, which will subsequently open up to an artistic representation of an expressive type. Looking at the artwork "Mystery", we can find that her colors, so vibrant and bright, reflect her hope and the joy she feels towards life, a happiness that is represented through an abstract but well- defined style.

Karma Castilho

Everyday life, the world that surrounds her is what pushes Karma Castilho to paint, to undertake a path of knowledge that is not only internal, through the pure artistic act, but also external, facing the world.

Looking at her artworks, like "A Fancy Lane in Hong Kong", you can discover new facets of concrete reality, a reality imbued with a strong and hidden energy that expands on the canvas and reveals itself through a mellow and dynamic use of colour. Karma Castilho is strength, expressiveness, light and colours. It's inner research and manifestation, it's primordial energy associated with the external rediscovery of the world, of reality.

Art Curator Federica Schneck

Karma Castilho

Mystery

Karma Castilho

A Fancy Lane in Hong Kong

Katja Lohmeyer - KL Art

Katja Lohmeyer’ artworks are the perfect representation of her feelings. The stream of colors that animates the canvas is the main character of the scene. ‘Colors of emotions’ is, in fact, the title of the piece that the artist has chosen to present.

Closing her eyes, Katja imagines her finished piece and then decides following her imagination , to use determined colors, the ones she has seen into her idea. A dynamic scene is what appears at the end, on a white background some brilliant colors give voice to numerous sensations and feelings existing. A horizontal line seems to cut the linear evolution of the perpendicular flux of the colored brush strokes as if, in that exact point, Katja thoughts or emotions have changed. Something similar to the action painting, but differing from the reasoned and imagined starting is how ‘Colors of emotions’ appears.. The artist’s aim is to confer and to catch a positive energy from her artistic art.

Art Curator Martina Stagi

Katja Lohmeyer - KL Art

Colors of emotions

KATYA GIARDI

The expressive power of KATYA GIARDI's abstract paintings lies entirely in the color and pictorial material. Expressive power emphasized by the use of acrylic paint whose main feature is to maintain its brilliance over time. In her paintings, the artist gives importance to the optical value of color freed from any description of form and materiality, understood as an object. "Luci d'estate" is an abstract work created with bright and vibrant colors, typical of the summer season from which the title originates. The colors are arranged in a rather regular weave, creating a sort of colored grid. However, the drafting is deliberately left uneven, so that the different colors interpenetrate each other, leaving the thickness of the pictorial material in relief that contrast with with the traces left by the passage of the brush bristles on the canvas.

KATYA GIARDI

The second artwork by KATYA GIARDI on display is "Roses". The brilliance and the expressive power of the pictorial material is the same as in "Luci d'estate" but the composition and the application of the color look totally different: the grid of vertical and horizontal brushstrokes of the first painting is replaced by a pink background spread in a uniform and flat manner. At the opposite corners of the canvas, the artist spreads large and thick dark blue color with circular brushstrokes that instead replace the horizontal and vertical movements of "Luci d'estate". According to the artist the pictorial material of the painting “Roses” is flamboyant, bright, charged and brilliant, to express the pure passion that is released in the scent of the homonymous flower of which it is a symbol.

Art Curator Eleonora Mannarino

KATYA GIARDI

Luci d'estate

KATYA GIARDI

Roses

Kenjiro Asaki Kenjiro Asaki is a skilled Japanese artist and photographer with a sensitive and elegant artistic intuition.

The photographs are elegant and immersive works of art, full of feeling and passion that are, however, rendered in a very delicate way. Lightness characterises his ethereal works of fantastic underwater landscapes. He prefers landscape photography and water surfaces that allow him to play with reflections.

The work 'A purified planet' is a clear example of this. Few colours are present, but they are extremely impactful. The artist photographed the surface of the water in the mid-winter sunset on Lake Yunoko, a lake in the prefecture of Tochigi, Japan. Only an exiled leaf floats lightly on the water, imitating the viewer to reflect on the crossing of boundaries. This artwork investigates the mysterious reality beyond darkness, beyond life. Water represents the origin of everything that contrasts with the end of everything, with the impending darkness that remains an enigma. The work is scenic and evocative. Kenjiro immortalises innovative and contemporary images that take the viewer to other worlds, far from everyday life, to discover something unknown and curious. He breaks away from the objective, realistic vision and immerses himself in a temporal vision, detached even from space. What is familiar becomes something new, to be discovered. While what is unknown appears closer to our reality. In doing so, Kenjiro works on two parallel planes, where the only meeting point is reality and subjectivity. His photographs provide new perspectives and views of the world, leading the viewer to leave behind a conventional view of his surroundings. The images he creates gather different impulses and stimuli from objects with which man is familiar. Thus, starting from something the audience is familiar with, he distorts reality, creating abstract and colourful forms that create visceral relationships between man and the image in front of him. Evident is the passion he conveys through his works. Fascinated by his surroundings and the refined forms of nature, he creates striking and overwhelming works.

Art Curator Ilaria Falchetti

Kenjiro Asaki

A purified planet

Kim Hye Ji “Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen”. (Leonardo da Vinci) Like music, the works of artist Kim Hye Ji follow a particular rhythm, a set of sounds and emotions that colour everyday life and take shape from experience. The artist's pictorial process is a journey that starts from the earthly dimension and heads towards the enchantment of existential mystery: a complex and profound itinerary made up of vibrant images in their bright hues and above all nourished with rare poetry. These are canvases that tell of inner drives, feelings, memories, emotions, but that above all make possible the search and discovery of what remains intangible.

Each work in its propulsive force expresses the unconscious potentialities hidden in the phenomenal reality in which we are daily immersed, but blind and unable to abandon ourselves to contemplation, to grasp the aspects of nature that the artist manages to sublimate in the form of pure energy. Colour becomes the main vehicle for letting one's interiority speak, the reflection of a thought and the mirror of the soul. In front of these canvases, one gets lost in an infinite space, as if mind and soul purify themselves of what ails them to let themselves go towards an atmosphere of cathartic and liberating power, in which the emotional charge is an expression of an ascent towards the joy of living and the spirit acquires strength and vigour. When observing Kim Hye Ji's creations, the observer finds something familiar, an expression of self, a sense of bliss. They are works that communicate well the philosophical concept of the here and now and, in the immediacy of their visual language, remind us how, in the finite and limited dimension.

Art Curator Giulia Fontanesi

Kim Hye Ji

False alarm

Kim Hye Ji

Cinema

Kim Hye Ji

Sunday peace

Klaus Bröking "In the beginning there was Chaos." (Hesiod)

There is no population or religion that has not attempted to research its own version of the origin of the world. It establishes itself as an indelible first approach to life, and its representation has been an object of inspiration in every era. During De-Cryptic Art we were able to admire Kreation, the work by Klaus Bröking dedicated precisely to the creation of the sensitive world. And it is a real world that unfolds before the eyes, a primordial world at an embryonic level but at the same time shaken by the vibrant jolts of an irresistible generating force. A cosmos that tries to come to light from the darkness in which it derives.

The artist seems to concentrate in an ellipsoid all the potentialities of an ongoing creative drive, while they intersect with each other in a continuous flow of life. The centripetal trend of the composition gives even greater strength to the swarming of creatures, which give the impression of staring into those of the observer. In particular a dark face - similar to a mask stands out in the upper part of the work. Like an original demiurge, it materializes above the rest of creation, establishing a daring parallel with the role of the artist: he is a creator too, an inextinguishable dynamo of marvels. All that remains is to participate in his vision and abandon yourself to a contemplation full of meaning.

Art Curator Chiara Rizzatti

Klaus Bröking

Kreation

Kuniko Narita “Colour! What a deep and mysterious language, the language of dreams” (Paul Gauguin)

What does art tell about ourselves? Is it possible to go beyond nature in order to decipher or know ourselves even more and move something within us through art? Art is a universal language that has a special power: it reflects reality, ideas, emotions and dreams leading people to discover their true self, their own color. Therefore, a special journey through imagination, freedom and the inner self begins allowing people to face and try to decipher the unknown, that is, life and existence themselves.

Kuniko Narita

Kuniko Narita's artworks exemplify this perfectly because she takes the viewer into a new world full of bright colors, abstract shapes and details that penetrate the depths of oneself conveying multiple emotions, even opposite ones. Her paintings Filter and Freed, insofar as they are abstract, are an artistic expression that encourages the individual pursuit and finding of one's own interiority, of what the heart of each person feels while contemplating them. As a result, the personal understanding, creativity and language are developed even if more doubts, mysteries and enigmas arise giving more importance to imagination and reverie.

Art Curator Liliana Sánchez

Kuniko Narita

Filter

Kuniko Narita

Freed

Kyoko Sambe

Several definitions have been coined to define the term "art." "Art is everything that human beings define as art"; "Art, in its broadest meaning, includes any human activity-performed individually or collectivelythat, resting on technical devices and behavioral norms derived from study and experience, leads to creative forms of aesthetic expression"; "Art is an activity-theoretically based on intuition that determines an activity-practically based in which the value of the work created is identified by its ethical, aesthetic and spiritual significance." These three definitions are all correct and one assists the other to form a clear and comprehensive explanation. In fact, the broad meaning of art cannot be defined through three written lines; it would be too presumptuous to give a one-size-fits-all definition of art. Art is different so is every artist who ventures into the artistic path different. It is good then, to examine works of art on the assumption that every art and every stylistic figure is unique. In Kyoko Sambe, art is transformed, it becomes something else. Color and form lose their objective definition to go beyond the material element. The artist actually creates a sensory art. An art that conveys, through form and color, atmospheres and moods. It is not easy to evoke situations, memories and ways of being through art and yet, looking at Kyoko's works, this process seems so easy. Four works made with the same technique each introduce us to a new world waiting to be discovered.

Kyoko Sambe

An emotion and atmosphere is infused in each work that transports us to faraway places while standing still. In "Warm Autumn," large lotus leaves are applied to the support in a vertical composition. They overlap each other and warm red and orange hues bathe their fabrics, transforming them into nuggets of fire. Reminiscent of a warm autumn, the work exudes a reassuring warmth as if, in those leaves, the quiet feeling of being protected is hidden. That of "Warm Autumn" is a friendly fire, a fire that protects us and warms us with its reddish hues. A whole different scenario is evoked with "Aizome." Lotus leaves overlaid with linden leaves come together in an extremely vertical composition. Indigo and white know each other, creating a work that smells fresh. The feeling is that of standing with your feet wet by the waves of the sea on a cool summer morning. The white foam gives a glimpse of the deep, dark, enigmatic blue that lies silent beneath the surface dotted by the whitish foam. Everything is silent, the only sound that reaches our ears is the rhythmic, hypnotic sound of the waves. Kyoko Sambe, through her works, evokes tactile sensations and visible atmospheres that can easily be traced back to events and memories produced during our lifetime. Lime leaves and lotus leaves acquire, in this way, literally new life. The leaf, fallen or detached from the mother plant, is reborn by coloring itself with pigment and tinged with atmosphere.

Art Curator Lisa Galletti

Kyoko Sambe

Aizome

Kyoko Sambe

Guidance

Kyoko Sambe

Oblique Rays

Kyoko Sambe

Warm Autumn

Lachlan Kiernan "Anatomy is destiny." (Sigmund Freud)

The creative thrust of Lachlan Kiernan offers itself to the eyes of the observer as a peculiar point of contact between impeccable technical expertise and a singular ability to gracefully convey a plurality of meanings with a profound introspective implication. Lachlan's professional skills as a graphic designer and illustrator constitute a fundamental piece of an artistic language that is far from being crystallized in a cold perfection: it is shaken by the imperceptible jolts of a perspicacious inspiration, which involves and intrigues for the unexpected juxtaposition of seemingly irreconcilable elements. We see an example of this in Anatomy of Living, the work presented on the occasion of De-Cryptic Art. The artist surprises us by placing us in front of a table of animal anatomy, and induces an initial estrangement that dissipates as the eye lingers on the details. It thus becomes clear that the illustrations are part of a larger and metaphorical vision, which is manifested by the three terms that appear above each of them: Value, Danger, Order. In the darkest moment of the pandemic, the artist has the opportunity to express the pillars of individual and social existence, and to reason about them with an analytical approach. This is how they are stripped to the bone and shown in their clearest essence. Lachlan Kiernan succeeds in creating a work of exciting originality,

Art Curator Chiara Rizzatti

Lachlan Kiernan

Anatomy of Living

Lea Edwards “The magic of art is an incredible energy and connects people in a positive way regardless of any differences” (Lea Edwards)

Lively, elegant and a bit bohemian is the art of Lea Edwards presented today at the DE-CRYPTICart international art exhibition in the M.A.D.S. International Art Gallery. Her work on display is La bohemian fleur and as the artist states the work describes itself as "A harlequin puzzle of colors surrounds a party of peonies. (Inspired by Picasso)." Lea displays excellent technique coupled with a positive, colorful, vibrant and energetic worldview. Her art sits at the crossroads of the figurative and the abstract and brings with it the best elements of both trends. The gentle and delicate soul of the woman penetrates the canvas through color and returns emotions to the visitor. Lea conveys her love of art to the viewer of her works; she herself had a strong appreciation for art from childhood and grew up in a home where art was created. She was influenced and taught by her mother, who was a talented painter of watercolors and acrylics. Although she is mostly a self-taught artist, she recently took online art classes to continuously learn and develop her skills. Her journey in art has continued to amaze her because it has been a path of increasing opportunities and unexpected turns. She looks forward to continuously developing her skills and creations to share with others. She works with oil and acrylic on canvas.

"I love nature and being able to include it in my art with bright patterns of color” (Lea Edwards)

Art Curator Mara Cipriano

Lea Edwards

La bohemian fleur

Lin Shih-Hsiung “Let the thinking run on the canvas and flow in the real space field at the same time” (Lin Shih-Hsiung)

Understanding is the key word to identify with the works of the very talented artist Lin Shih-Hsiung at the international art exhibition DE-CRYPTICart in the international art gallery M.A.D.S. He combines the texture of rocks and the turbulence of rivers, precisely, with his understanding, and creates one wonderful painting after another. Not surprisingly, the artist says, "For me, art is an understanding of life transformed by the contact and sensations of life. This kind of understanding comes from informal thinking, so the paintings are full of fantastic, strange and dreamlike scenes. My style is rich in color and bold lines. Compositional perspectives transcend spatial experience. Let thought flow across the canvas and flow at the same time into the real space field." Like the great master Dali, Lin Shih-Hsiung creates his own dimension that takes its cue from reality to project into an imaginary, dreamlike scenario that transcends the boundaries of physics. Exactly as in Fantasy Picture-in-picture, a work that must be looked at from left to right and is crossed sa a brush, which divides the work into two equal parts. In addition to being a masterpiece of surrealist art, this work is distinguished by being Romantic. Indeed, there is a vivid reflection on nature and how man approaches it. The landscape is identified in one of Taiwan's national parks, Taroko; a place linked to the artist's childhood and where he still goes to draw. Fantasy Standing painter, presents, acertainly, the relationship between man and nature. The woman's body depicted, in fact, represents Mother Earth.

In front of her is a blackbird flying toward her, trying to absorb her nourishment. Man is examined by taking the artist as an example; he is in the act of painting. Lin Shih-Hsiung, therefore, decides to opt for the "picture within a picture" narrative, and in one of the two paintings in the scene, he depicts the estuary of the Taroko Gorge. The river comes out from inside the painting, which means that the artist hopes the human heart is wide, so the human being (artist) glues the paintings into his heart to express his respect for nature. The last of the three artistic works is called Fantasy Daydream, it too has in it the Romantic instinct of the human being learning, observing and feeling the appearance of the structure and form of Nature. The hollows in the represented rocks become eyes, nostrils, ears or various organs. The child on the right represents a human being; he approaches Nature with fear and awe; it is the effect of the Leopardian Sublime: love and awe.

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Art Curator Mara Cipriano

Lin Shih-Hsiung

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Fantasy Daydream

Lin Shih-Hsiung

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Fantasy Picture-in-picture

Lin Shih-Hsiung

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Fantasy Standing painter

Mackenzie Maisel

Mackenzie Maisel is an American artist, based in New York City. Her artistic production and expression start at the age of twelve, thanks to the start of studio art lessons. Mackenzie is, for the first time, a guest of an exhibition organized by M.A.D.S. Art Gallery and on the occasion of “DE-CRYPTICart” she exhibits two pieces which are part of a large collection composed by twelve artworks from Mackenzie’s Senior Thesis called “Theophanies”. As the artist explains “These works in particular are about universality of the human experience and exploration of life.”. “Existence” is a work full of elements and details that allow the observer to retrace the history of humanity thanks to both classic and modern popular iconography. From the "Creation of Adam" of Michelangelo's Sistine Chapel that we see in the center with a background of a completely modern city that can remember New York City, up to Pig Pen from the Peanuts cartoon.

Mackenzie Maisel

The colors are bright and dynamic, the visual impact is such that at first glance the work may seem confusing, but on the contrary, everything is calibrated and reasoned to reach the viewer straight and powerfully. "Need" is a darker work than the previous one, the use of few colors and the choice to make them flow towards the base of the work makes it melancholy. There is a great sense of solitude by focusing on the various subjects represented alone and detached from each other.Mackenzie Maisel stands as a storytelling artist, her works of art glue the gaze of the observer who feels enraptured by the details and experiences that they bring to the surface.

Art Curator Martina Viesti

Mackenzie Maisel

Existence

Mackenzie Maisel

Need

Maki.ki The artist Maki.ki is an incredible artist, she uses digital tools to represent not just the reality around her but the way she sees the reality around her. On the occasion of the international art exhibition m.a.d.s.art gallery she presents three works. The first one is titled Profile. The colour that stands out in the composition is a brilliant red. The observer can feel himself completely captured by this color. Then we can see different shapes and forms. About this work the artist says: <<It’s a profile painting of a woman wearing a hat with a feather ornament. I expressed the feeling of looking into the distance and thinking about something.>> So the composition in an abstract way figures us not the reality but the emotions and the feelings in a really free way. The second work titled eyes and society and me presents a composition more complex created with different colours and shapes. We can see more geometrical forms that seem to cut the abstract space and various vivid colours, like yellow, blue, red... As the artist says about this work: <<society, common sense, the eyes of others, and the internet. I think we live in the grip of the invisible eye>>. So we can understand how with the complexity of this work the artist wants to express her relationship with society, the relationship she has with others, and the way she feels. In a similar way the third work titled SNS and society and me, presents different shapes and colours. We can see how the language used in the creation of the works is really similar, as if the artist has an exact way to express herself. About his works she says: << my world has expanded because I keep painting pictures and uploading them to SNS. At the same time, my connection to the real world seems less and less connected>>. This means that with this composition she wants to express the process of her art creation.

This kind of process, that consists in the translation of artwork in digital work, corresponds to the way she lives the reality around her and her relationship with the world. As if with the virtual space she has expanded her reality, but at the same time she feels far from the reality.

Art Curator Elisabetta Eliotropio

Maki.ki

Profile

Maki.ki

eyes of society

Maki.ki

SNS and society and me

Mark Leising What is striking about Mark Leising's work is certainly the vivacity in its entirety: in the lines, in the explicit messages and in the bright colours. The need to express himself is very strong in the artist who uses different types of media and tools, such as paint and ink, charcoal, acrylic and different supports such as canvas, cotton, stucco, wood, paper, etc. We note in his modern and abstract art a great influence of the urban world. Immediacy is another key word in reading the artworks of Mark Leising. The strokes are immediate and hurried, as the writings, sometimes marked and decisive, which show the artist's urgency to send a message to the beholder. Within the various works there is the spontaneity of not favoring a single stroke, of going against the basic rules and techniques of drawing and of letting one's inspiration run free. This is also suggested by the deliberate haste of the chromatic shades which do not fill all the empty spaces, but only what is strictly necessary to give shape to what he wants to communicate. It is clear that the artworks represent the daily life that storms not only the mind but also the thoughts and sensations of all of us, as the inspiration also comes through music, films and the situations that life gives us. We could interpret these artworks, especially "M87" and "M-87", as a mere representation of human cognitive processes that are influenced by the world, in continuous movement and elaboration from day to day, where every thought born and dies sucked into a black hole, just like the M87.

Art Curator Angela Papa

Mark Leising

M87

Mark Leising

M-87

Mark Leising

Untitled

Mary E. Morgan Mary E. Morgan participates for the first time in an exhibition organized by M.A.D.S. Art Gallery on the occasion of "DECRYPTICart". Chaos, confusion, disorientation: this is what emerges from "The Battle". Blood splashes and indefinite lines line the painting, exalting its tragedy. It is the feeling of a universal, collective pain that fills every single detail subjected to our vision.

In the absence of a center, we just have to pay attention to everything. White, orange, black, blue, red, yellow, green, pink, gray: neither colors nor shades are missing, nothing is left to chance. Curved and soft lines overlap and alternate with some more squared lines. Letters, planes, faces, boots, rifles: the shapes of the subjects certainly derive from an idea of the artist, but they are made less absolute precisely because they can take on various and different meanings, as much depends on our associations. As the artist declares, “This painting is an expression of the human condition and the depravity of the soul of mankind. After completing this work, I realized how significant the battle is for all of us. Although the truth may stay hidden, we don’t fight the battle alone, and therein lies our hope.” An invitation to share emotions, especially pain: only with her precious advice, a human being can be able to dry the tears and make their suffering one more step forward. Mary E. Morgan manages to collect in a single painting an indefinite series of elements, allowing us observers to get lost in the details, without neglecting any.

“My artwork is about my life’s journey and the joy of living through abstract form and color.

The creative process which produces a product is the voice that reflects my soul, expressing many different facets of life’s experiences. ” (Mary E. Morgan) Art Curator Sara Grasso

Mary E. Morgan

The Battle

Melissa Broadwell “It seems like I paint by feeling my surroundings rather than using my hands.”

Throughout her works, the artist Melissa Lee, in art Melissa Broadwell is able to give voice to energy, going to another realm or meditative state. The first impact received looking at Melissa’s paintings is of dynamic scenes in which, the motors of their meanings are colors. Each painting has its own symbolic meaning that his translated into energetic brush strokes. ‘Existence’ reflects Melissa’s emotions while listening to a Heyoka Empath music, intense and with path causing deep emotions. The center of the canvas is occupied by more and smaller instinctive points of deep colors taking their essence and creating the heart of the whole scene that brush after brush becomes softer. The same interpretation is followed by ‘The Dance’, a consequent scene representing the dancing movements of the artist’s emotions while listening to the same Heyoka music.

Melissa Broadwell

This time, however, the colors are colder as to remind to think dancing steps according to her emotional feelings. Life is a concentration of emotion that differ from each other and Melissa, starting just from the concept of Existence has tried to represent each of them. ‘Wounds’ is in fact the reflection of all the pain and suffering and confusion of the abyss that will change our essence and behavior. Nevertheless, something positive is reachable from the gold spots here and there as to remind that there is always a way to find the wellness and it is: the hope. The intensity of all of the questions and emotions of existence is well represented into ‘On Fire’. All Melissa’s artworks are not created following an order but she may start focusing on a thought or word after she starts, going fast and creating abstract scenes reach in symbolic meanings.

Art Curator Martina Stagi

Melissa Broadwell

Existence

Melissa Broadwell

The Dance

Melissa Broadwell

Wounds

Melissa Broadwell

On fire

Michael W. Surber “Art allows you to express things that you want to say, how you feel, and what’s on your mind in that moment when you create, but most of all it is freedom from failure” (Michael W. Surber)

Poetic, primitive, essential is the art of Michael W. Surber at the international art exhibition DECRYPTICart in the international art gallery M.A.D.S. Like the great master Picasso, Michael works on his canvas several times, always breathing new life into the work until he brings it to completion, as he says "The work was born from a spare canvas on which I brushed paint from another project I was working on, until the image revealed itself to me." Epiphany is the basis of Juliet’s Balcony, Michael continues "I saw it on a balcony, overlooking the fields below, and I thought of Romeo and Juliet during the balcony scene. I said to myself, 'This is Juliet's balcony,' which became the title of the opera. It was not something I had in mind to create, but rather what was revealed to me in due time." It is really the case that the artist dialogues with the canvas and the pictorial matter, lets himself be influenced by it, by the colors, by destiny. The artist dialogues with the work and thus indirectly establishes a dialogue with the viewer. The literary stimulus is combined with a style that can be said to be abstract but has strong connections with the figurative repertoire, with primitive forms marked by well-defined contour lines. The protagonist's face is turned toward the horizon, leaving the viewer to reflect on the scene he or she is looking at.

Art Curator Mara Cipriano

Michael W. Surber

Juliet’s Balcony

Mikko Kaakinen "The artist is a son of his time." (Friedrich Schiller)

What happens when individuality gives way to homologation? The frenzy of modernity imposes new diktats in every aspect of life, and it does so with such an alienating speed that it is increasingly difficult to stop and reflect on them. It is here that Mikko Kaakinen's art finds his raison d'être. The Finnish artist probes with lucid awareness a contemporaneity increasingly directed towards the enjoyment of temporary pleasures, which must be consumed and replaced with new desires. But what happens when superficiality is the new idol to worship? It happens that man, whom Aristotle defined as a "social animal" for his unique ability to relate to others and exercise his own rationality, becomes an automaton, a human doll emptied of its uniqueness. In Zeitgeist the laconic monotony of gray and black seem to swallow the nuances of an independent personality to the point of making it unrecognizable even to itself. And if the habituation to a predetermined system leads to an initial satisfaction, it reveals itself over time as the deepest groove in the soul of each of us. Without his own autonomous thought and without the possibility of showing the traits of his own nature, man is a prisoner in his own world. Looking carefully at the man portrayed, we almost seem to perceive the desperate strength of clenched fists, and to hear the unheard cry coming from the wide open mouth. But what most touches the observer's empathy is the spectral white of the wide-open eyes, which send out a silent message of profound bewilderment. With Zeitgeist, Mikko Kaakinen sets out on the one hand to counter the dominant trend of the modern world by showing the darkest aspects of its advancement, and on the other to remind everyone of the priority of their individuality.

Art Curator Chiara Rizzatti

Mikko Kaakinen

Zeitgeist

Miyu

There is something fascinating about the aesthetic that characterizes anime produced in the 1990s. Pastelhued colors combine with extremely subtle and almost imperceptible contour lines. The physiognomies of the characters are, compared to today's anime, more respectful of the natural features of the human face, and the whole thing has a more authorial, more characterized quality. Also serving as a backdrop to these features is the strong sense of nostalgia that this aesthetic evokes in its shapes and colors. Indeed, for those born in the 1980s and 1990s, the vision of this particular aesthetic evokes memories and moments of life gone by. The representations exude sweet melancholy and a feeling of calm and serenity that only the period of childhood can give us. Miyu in her works uses precisely this kind of aesthetic to represent what she desires by reworking the contemporary world through the styles of the past. And that is how the world becomes clear and limpid, defined and sweetly nostalgic. In "Tears," a girl is crying.

Tears flow copiously down her cheeks until they reach her chin and fall into a sea of lush yellow flowers.

Although there is a general feeling of underlying sadness, the latter is mitigated and balanced by the rendering of composition and color.

Miyu

The color palette is extremely clear and limpid and is characterized by a rather soft and flat rendering of color with the near absence of shadow traces within the work. It is as if Miyu wants to try to eliminate the darkness that, the portrayed event might evoke through the gentle force of color. The gentle gaze framed by bob-colored hair does not betray this intention. Although the girl is weeping, her gaze is not somber or full of resentment. Within her irises can be discerned a tender sweetness that takes shape through the use of bright green that contrasts with the entire composition. Miyu's art is a breath of fresh air towards a world often exaggerated in its crudeness of content, and "Underwater Greeting" is proof of this. Indeed, the work is a limpid and brilliant depiction of a happy meeting underwater between a fish and a girl. The whole work gives off joy that resonates within the golden reflections of sunlight breaking through the water. Looking at the work, it is possible to identify with the girl and feel the same joy at this fortuitous event. Miyu creates fresh and gentle works where the monotony of everyday life appears in another light.

The element of the real is actually revisited, embellished and enhanced through art. Gray is transformed into color and in this way one discovers that even the most mundane thing hides within it wonder and beauty.

Art Curator Lisa Galletti

Miyu

Tears

Miyu

Underwater Greeting

Mollie Timpson

A rainbow is the result of refraction and scattering of light in raindrops. In fact, it always appears after a thunderstorm and is sometimes visible even in puddles. This optical phenomenon appears as a multicolored arc with colors that are not sharp but fade into each other. Seven are identified but in reality the spectrum of color shades of which the rainbow is composed is definitely wider. Being able to witness a rainbow allows one to receive from the natural environment a signal of relaxation and hope following a negative period.Some Native American tribes believed it represented a bridge to the Afterlife. The Romans, on the other hand, thought it was the path taken by Mercury, messenger of the gods. To the Cherokee, it was the hem of God's coat. The Mayans, like the Christians, believed it meant that the gods were no longer angry.

Mollie Timpson

It is mind-boggling how only an orderly presence of colors on a known background (sky) is able to arouse emotions, generate legends, and take on vital meanings. In the wonder of the sudden appearance of a rainbow, we find the artworks of Mollie Timpson, an artist working with color, with the creation of an image that did not exist before, with the awe of the sudden presence of emotions in full field. Shapes that look like knots formed from clear, disciplined, concise thought. From the immaculate presence of a color mark seems to create a cord of brilliant thoughts that, like earwires, knot and tangle as they are drawn together by an electrostatic force. The color overlaps itself, the shapes hide and the image evolves. Works of art that tell, through their clarity, about being human, entangled and magically in the picture at the same time.

Art Curator Erika Gravante

Mollie Timpson

Molliegon 12

Mollie Timpson

Complex Molliegon 9

Monika Eversmann "Art sweeps our souls from the dust of everyday life."

(Pablo Picasso)

Graduated in biomedical engineering, Monika Eversmann was characterised from an early age by great creative abilities that led her to completely immerse herself in art, her passion. Born in Germany and grow up creating art, Monika takes inspiration from abstract and contemporary styles, producing her artworks using traditional techniques such as perspective and proportion. Very important are the colours, which are soft and at the same time strong, capable of conveying a sense of tranquillity and well-being in the viewer. The colours make Monika's artworks engaging and profound, taking the viewer away from the turbulent problems and thoughts of everyday life and into a peaceful and serene place. With her artworks she aims to engage the audience and, through the textures and flows of colour, bring them into a state of tranquillity and well-being, a journey of self-discovery and inner peace. Known on social media as MO Create, Modus Operandi Create, her main goal is to show the public that we are all creators. It was from this concept that she came up with the idea of showing her creative process to inspire people to create their own art.

Art Curator Mara Torretta

Monika Eversmann

Passing of Time

Murat Turfanda "Every shape, every color, means a feeling: there is nothing in the world that doesn't say anything."

(Wassily Kandinsky)

Murat Turfanda, an artist from Istanbul, Turkey, uses the monitor as a support and through his digital compositions provides the viewer with rhythm, harmony and color studies. Murat experiments complementary colors along with tonal profusion and carries a pleasantness in his overlaps, in which he focuses on a broad research into the digital universe and the infinite possibilities of creating a kind of fit between the figurative and its abstract forms. Aiming to communicate his thoughts and feelings to the public and create debates, Murat Turfanda inspires and positively influences through his concepts, the main objective of the artist. His work feeds on aesthetics and essence, his process begins with writing, where he finds himself in an internal dialogue from which the desire to communicate, reflect and create connections with people through his work is born.

In the work “The Wounded Beaut”, the artist proposes a reflection around social aesthetic pressure through the media, symptoms such as image distortion lead women to attack their own bodies by comparing themselves to photographs that are often modified and unreal. Sadness, altruism, uniqueness and ways of seeing are some of the themes portrayed here. In the work “Point Of View”, the artist proposes that the public can change the angle of the work and reflect on the unique way in which each human being sees the world.

With attitude and pictorial elegance, the forms dance through the spectator's eyes, the figures are born from the fluidity, the organicity of the lines and the tonal balance. Murat Turfanda creates his subjective significance, the line is all that it can become, a becoming of movement, form and investigation of space. The color in his work is a content, it produces relationships with his thoughts and resonates in the eyes of the beholder.

Art Curator Barbara Magliocco

Murat Turfanda

The Sadness

Murat Turfanda

The Selflessness

Murat Turfanda

The Point of view

Murat Turfanda

The Wounded Beauty

Natalia Kairies “The world always seems brighter when you’ve just made something that wasn’t there before”. (Neil Gaiman) The painting of artist Natalia Kairies is a unicum of images and emotions traced on canvas with great visual impact, based on chromatic explosions typical of the noblest expressionist current. It is an intuitive work that distances itself from the model of naturalistic representation of reality to leave room for emotional and sensorial investigation, capable of transforming the objective datum into something different, into a new and synthetic vision, the result of the decomposition and recomposition of objective reality. Natalia Kairies' bold figurative compositions blend with abstract forms in an explosion of bold colours and wandering shapes intended to stimulate the emotions of both the creator and the observer. The chromatic richness and colour layering determine a conceptual and technical depth as well as a complex vision that demands to be explored. These are works that offer the viewer a space in which to wander in search of new horizons, inviting them to expand their perception. The artist experiences pictorial art as a creative medium that leaves room for the unconscious, he enjoys playing with reality, reinterpreting it, breaking it down and then restoring it in a new perspective where everyday things become 'other'. The evocative content springs from an emotional research that feeds on the imaginative richness of the author and thus devotes itself to depicting scenarios of undoubted expressive complexity, deprived of a common and/or obvious recognisability but made of authentic identity and pure essence. Natalia observes with the eyes of her mind and heart, and her analysis manages to harmoniously balance instinct and reason, strength and fragility. It is a personal dimension animated by changing forms that lead one to reason, to think 'outside the box', to change angles, thus opening up new interpretative keys that take their cue from subjective elements and are then expanded to embrace broader fields of objectivity. What emerges powerfully is a suggestive dimension that rests on the vibrant use of a broad and intense colour palette that contributes to giving shape to the content, delving into the meanders of the soul and becoming the lifeblood of the entire creative process.

Art Curator Giulia Fontanesi

Natalia Kairies

Dance in the light

Nerys Levy “The object of art is not to reproduce reality, but to create a reality of the same intensity”.

(Alberto Giacometti) The works of artist Nerys Levy tell of places, realistic suggestions that are declined in a representation of nature made of colour, expressed in form, sign and line. What is immediately striking about the two proposed works is the symbolic aspect of the contrast between space and matter, where the forms, they are forms of space, propagating in all directions, without limits and boundaries of space and time. The entire compositional structure is built by means of an expressive process that has made a unique language of art its own, through which we can perceive all the overwhelming personality of an artist who, over time, has been able to create her own identity that allows her to be recognisable and immediately stand out in today's wide and varied pictorial panorama. The canvas becomes the space par excellence where she lets her feelings flow, without premeditated intentions, without formal schematisms, always arriving at original and convincing results. The observer is captured by the propulsive energy of a painting that emanates its force from within and reaches the heart and the most intimate part of ourselves.

Nerys Levy

The figures in the painting interpenetrate with the background, forming an inseparable whole.

A new vision of reality and the realisation that there are forces existing in nature related to human feeling and thought, stimulate Nerys Levy to attempt a new artistic approach. He thus creates these works to develop an original style in which he gives expression to his belief in the forces of life, the power of light and colour. Moreover, the colours seem to refer to the artist's own emotions, but above all, it is through colour that Nerys Levy awakens the emotions of the viewer. And so it is that when admiring the reds, yellows or blues, the viewer is awakened by feelings that may be conflicting, but which speak to his soul. He is caught as if in a vortex and awakened in his most latent emotions. Nerys Levy's art is thus a spiritual art, we can call her an abstract artist of the soul and emotions, capable of representing the most primordial feelings and awakening them in man at the same time.

Art Curator Giulia Fontanesi

Nerys Levy

Cathedral, Innsbruck, Austria

Nerys Levy

Arctic Summer, Svalbard, Norwegian Arctic

Nicholas P. Kozis Nicholas Kozis is a skilled artist who incorporates all his artistic skills into his works, developing them in different directions. His artistic and graphic skills are evident, making him an extraordinary multifaceted artist. His artistic process is laborious and complex and leads him to come up with creative and original images with a mix of everyday and contemporary references that are perfectly integrated with each other. The world needs new visions and man needs to create a relationship with his surroundings.

Nicholas allows himself to be fascinated by his surroundings, revisiting images through his unmistakable and original artistic flair. his artistic journey is not limited to one medium, but he loves to experiment and immerse himself in new creative experiences that lead him to use more than one pictorial medium. Her art is original and unique. The viewer looks at the image, becomes part of the work and actively participates. It detaches the mind and sets off towards new horizons where worries and fears do not exist. Art takes possession of the brush and moves freely on the canvas without limits or constraints. In 'Winter' he celebrates the intoxicating and overwhelming vital energy of nature. The brushstrokes are disruptive, overwhelming and energetic. A bird with outstretched wings flies intrepidly towards new horizons.

Nicholas P. Kozis The work is perfectly punctuated by colour in two spaces, one brighter and more homogenous, the other dominated by passion and the contrasts of intense blue with white. Among the artist's most represented and beloved subjects is certainly the human figure. In 'Pose 4' Nicholas plays with the human figure, making it interpenetrate with its surroundings. The greens are mixed with delicate and refined touches of purple, contrasting with the whites, blacks and greys of the protagonist in the centre Nicholas plays with shapes, colours and volumes, always putting the human figure at the centre, which always dominates his creations. Nicholas is a multifaceted artist, switching from one medium to another, from one subject to another. He creates landscapes, live poses, naturalistic, abstract and sometimes figurative works. The artist celebrates the beauty of the body, with its shapes and volumes. As in Maude, where the sinuous body is emphasised by the meticulous technique, with fine, dense brushstrokes. Lights and shadows gently envelop the figure, giving it three-dimensionality and conferring realism as is also the case in 'Lauren 2' where, however, the subject varies both in pose and contextualisation. Here Nicholas demonstrates his skill in the realistic rendering not only of human subjects but also of animals. The details are meticulous, the end result marvellous.

Art Curator Ilaria Falchetti

Nicholas P. Kozis

Untitled artwork 23

Nicholas P. Kozis

Lauren 2

Nicholas P. Kozis

Joel

Nicholas P. Kozis

Maude

Nicholas P. Kozis

Pose 4

Nicholas P. Kozis

Winter

Nico - Coral Dreams

Ever since photography was invented, art has had to deal with it. If at first photography had a subordinate role to painting, over time it has been taken into consideration by artists as an autonomous means of expression or to be integrated with traditional painting, as happens for example in the artistic experimentation of Gerard Richter. Nowadays artists have to deal with another medium: the digital one.

The artist Nico - Coral Dreams has developed an artistic practice that mixes painting, photography and digital art. In fact, he creates particular abstract images starting with the creation of paintings on canvas with a secret technique that resemble the pouring art technique. Then he takes photographs of the paintings. These photos are in the end manipulated by with digital instruments. The final result of this process is a digital image that recall representations of unknown astronomical spaces that the artist proposes as decorations of various everyday objects. One single digital image could be generated by several sample of different paintings.

Nico - Coral Dreams

The colors are often strongly contrasting, hyper saturated, and stand out against black background. Not only the composition recall galaxies and universes. Nico - Coral Dreams in fact, choose randomly, as title of his artworks, words taken from scientific-physical-astronomical glossary. Is the case of the two artworks displayed "Galactic" e "Ion". The first one is characterized by cold colors and recalls the image of a nebula. The second one is dominated by warm colors as yellow and orange. Although the artist chooses the title randomly, there is a certain affinity between the name of the artwork and the image. The artwork "Ion" for example brings with it the power of an electric discharge or the cirrus clouds of a plasma lamp. It would be wrong to compare these works to the instances of the spatialist movement, although this reference to the scientific and astronomical world could make one think of the Baroque period of Lucio Fontana.

Art Curator Eleonora Mannarino

Nico - Coral Dreams

Galactic

Nico - Coral Dreams

Ion

Noah Schepull The composition of material reality has always been an enigma that philosophers and scientists strived to unpuzzle. Finite matter in an infinite world, the paradox of materiality was understood as the constitution of the smallest unit possible, called elements. Fire, water, air and earth were thought to be the only elements that would create whatever visible and tangible to the senses. However, the classical elements didn’t include the abstract properties of our reality, which was then added later on with the element aether. For this exhibition, the artist Noah Schepull bridges the tangible with the intangible, proposing the collection “The Four Elements”.

Noah Schepull The four canvases result in an ethereal composition that is a reflection of what art is able to transmit to the artist.

Peace and tranquillity of life are personified by the element Earth, grace and eternal change by Water, freedom and limitless creativity by Air, and passion and unbreakable will by Fire. While creating, Noah is able to feel every emotion given by the elements, and thanks to them, he escapes from the concrete reality to a new, heavenly dimension. The strong and intense emotions that arise from painting create a sense of internal chaos, also influenced by inputs of the external world, which is translated in the spiral head of the characters of the collection. Thus, Noah creates a scenario in which the concrete and the abstract become one thanks to art's infinite and ethereal power.

Art Curator Francesca Mamino

Noah Schepull

Air

Noah Schepull

Earth

Noah Schepull

Fire

Noah Schepull

Water

Paola Signorini "Everyone's true vocation is only one, that of knowing oneself."

(Herman Hesse)

Paola Signorini, Genoese artist, has expanded her artistic production in recent years, giving life to various types of artworks, drawings and paintings, wall decorations and a booklet for children to color in “The fantastic world of Dino and Magorilla”. Her art is a real invitation to dialogue, to discover the outside world and to rediscover one's own interiority. Through a precise, simple and detailed style, the artist manages to give life to artworks with a strong visual impact and capable of leading the observer through a profound analysis and reflection of one's inner self. The titles of the artworks are real revelations which, like bells, ring out systematically and recall the profound message of the work. "Oltre" is an artwork that speaks of travel, of overcoming obstacles, barriers to seek one's self. It's an artwork that incites the overcoming of one's mental limits, the unveiling of the enigmas that increasingly afflict the human being, who must reunite again not only with his deepest part of the soul, but also with the outside world, concrete. With the Nature that surrounds us and, above all, with the natural awareness of truly being who we are, without veils, without masks.

Art Curator Federica Schneck

Paola Signorini

Oltre

Patricia Márquez “Mystery is a basic element of all works of art” (Luis Buñuel)

Human nature is a complex and mysterious reality. Art, as it presents some elements about nature, reality and human life, takes up that complexity and mystery. However, this becomes an inspiration for creativity and artistic production making them important elements of art.

The artworks' expressiveness through the use of colors, abstraction, symbolisms and concepts behind them leads to a constant search for understanding oneself and the world. With this, the possibility of developing greater awareness takes place.

Patricia Márquez

Patricia Márquez presents four artworks that show the mystery that arises during and after the artistic process and the personal encounter. As the artist states, she allows her creativity and feelings to take control of her when she starts an artwork without knowing how it will end.

She follows the path that the artworks trace without prejudices and ties keeping a constant surprise effect on the possible end. The colors picked by her, the strength of her strokes, the concepts and emotions behind the artworks give them a unique voice and meaning, they generate some intrigue captivating the interest and sensitivity of the viewer. Therefore, Patricia shows that the mystery and enigmas of each human being and its own life story, just like art, may not be entirely deciphered, but, in the end, the most important thing is confidence in one's intuition, freedom and emotions, the awareness and reflection on individual and universal situations in order to live the encounter with oneself and discover one's own passions.

Art Curator Liliana Sánchez

Patricia Márquez

Perfil Urbano I

Patricia Márquez

Perfil Urbano II

Patricia Márquez

Templo

Patricia Márquez

Mundo en equilibrio

Paul Delpani “Art is standing with one hand extended into the universe and one hand extended into the world, and letting ourselves be a conduit for passing energy”. (Albert Einstein) Memory as an inner dimension linked to sensitivity is the common denominator of the pictorial production of Paul Delpani, a Viennese artist who finds his creative drive in encounters with places and things, in private experience, in the set of images and sensations that replay in the mind in a fascinating and emotional rewind of memories. Through his painting, Paul Delpani establishes an empathic bond with what is around him: his is the representation of a reality capable of soliciting stimuli full of content and form, evidence of a rare sensibility that eludes immediacy, where everything becomes a symbol. This personal transposition of the world is above all an idealised vision, a poetic and at times melancholic projection of a lived experience, a memory. His pictorial world is therefore charged with a spirituality that we find in every subject depicted and every composition becomes an emblem of a real datum to be recovered in its most intimate dimension, aiming at an expressive rendering that prefers the simplicity of the whole. Its communicative power lies precisely in the delicacy of the compositional whole, where the soft, airy atmospheres envelop the forms in evanescence and charge the canvas with a visual power that turns the gaze to nostalgic places of memory. This 'silent' painting reveals the soul of someone who has been able to grasp the most romantic and truthful side of the subjects treated and reveals humanity, purity, truth in every small detail. They are glimpses of memory, poetic reminiscences, moments frozen in space and time that are clothed in incisive colours and reveal themselves through gentle strokes that speak of an infinite narrative.

Art Curator Giulia Fontanesi

Paul Delpani

En rose

Paul Delpani

Entangelement

Paul Delpani

Return of the fish

Pertti Ahonen "Feelings are colors and colors are feelings. To the painter colors are the way to deeper selfawareness and open new dimensions, strengths and resources” (Pertti Ahonen)

"In my works I paint traces of energy flowing everywhere; sometimes the energy flows slowly, sometimes in rapid torrents," are the words of an artist we are very fond of and with great joy we are hosting at the DE-CRYPTICart international art exhibition in the M.A.D.S. International Art Gallery. The first event of the year that enjoys worldwide fame. On this occasion Pertti Ahonen decides to show two of his wonderful works of art. Their names are Bridges over chaos, Prints of our time. Pertti holds a master's degree from the University of Jyväskylä and studied at Pirkkala School of Art 1996-2000, Finland. He lives and works in Ikaalinen, Finland. The characteristic that makes Pertti's art unique in the world is the explosive, energetic charge it exudes. This is the result of a combination of color choice and movement.

Pertti Ahonen

Our artist's works are charged with the strong vibrations of two primary colors: yellow and blue, the absolute protagonists, juxtaposed with white, black, fuchsia, orange, green...very bright colors. His art belongs, as we know, to the abstract strand and especially related to action, movement and does not lose touch with reality since Pertti always leaves traces of awareness of reality. He does this with titles or with some elements that simulate the perception of reality, such as the two bridges mentioned Bridges over chaos. Pertti seeks, like any ordinary mortal, balance in chaos and this brings him closer to the viewer with whom he establishes a dialogue. As he himself states, "My paintings can be rough and layered. In some, blurred surfaces of color overlap one another. Their peaceful, poetic atmosphere is in stark contrast to the stronger, sharper paintings that contain more rock 'n roll."

Art Curator Mara Cipriano

Pertti Ahonen

Bridges over chaos

Pertti Ahonen

Prints of our time

Ricardo Vuigner “To be an artist is to believe in life”. (Henry Moore)

The works of artist Ricardo Vuigner evoke deep feelings. The artist's compositions are 'visions': emotions and memories dissolve in the evanescence of the chromatic charge, in a refined play of colour, with a rigorously abstract taste. Ricardo Vuigner narrates emotions through his works: those of earthly energies and the spiritual ones of the human soul. His works have the colours of the earth: the blue of the sky, the red of fire, the yellow of the sun, the brown and green of nature. The colours are spread out like swirls, capable of capturing the viewer's gaze but at the same time giving harmony to each work. These are thus works full of balance, where what strikes one first and foremost is the hand of the artist generating these swirls of colour. As in an ancient and primordial dance, the artist spreads the colour on the canvas and the viewer is led to read each movement of his hand. The painting is thus strongly gestural and in perpetual movement, as it is capable of leading the spectator's gaze to dance on the canvas. Moreover, the colours seem to refer to the artist's own emotions, but above all, it is through colour that Ricardo Vuigner awakens the viewer's emotions. And so it is that by admiring the reds, yellows or blues, the viewer awakens feelings that may be conflicting, but are able to speak to his soul. He is caught as if in a vortex and awakened in his most latent emotions. Ricardo Vuigner's art is thus a spiritual art, we can call it an abstract artist of the soul and emotions, capable of representing the most primordial feelings and awakening them in man at the same time. The painter's gestures thus become pure energy that is imprinted on the surface through the skilful choice of colour, the great protagonist of his painting, strongly evocative of an all-Venetian historical matrix, which create different spatial planes so as to make one perceive a centripetal or centrifugal force, however one wishes to look at it.

Art Curator Giulia Fontanesi

Ricardo Vuigner

Power

Rinata Shaka All the pastel colours, all the curved lines, the flower, the animal, the fairy tale mood, all seem to suggest a unique and very much wanted sensation. A dreamy hymn that is waiting for its very one singer. It is a mild state of grace serendipity, it is the predisposition to accept a benevolent fatality, a way of glossing over problems, an aptitude for discovering enchanting places. In general terms, serendipity is the act of finding something of value or pleasant when you least expect it. It is the discovery of something unexpected while looking for something else; it is the ability to identify and interpret unexpected facts during a search. Serendipity can be described as a positive manifestation of the broader effect of unexpected consequences. It can, therefore, be regarded as a cognitive tool or rather as a true method of scientific research.

Rinata Shaka The task of the researcher then becomes the careful search for unanticipated effects that can lead to the formulation of a new theoretical paradigm or greatly expand a previous one. In front of Rinata Shaka's artworks we respond to this call with ease; in her paintings it is easy to find ourselves surprised in the echo of details.

Among the layered colors and shapes and the harmonious and elegant juxtapositions, unexpected bulbs are blooming. Thus, the seeker/fruitor finds themselves theorizing the new presence of architectures composed of flower petals, parts of natural oases stolen from a lovingly observed glimpse, enclosed perhaps in the author's precious memories and elegantly liberated to begin a path of distribution of fortune and joy.

Art Curator Erika Gravante

Rinata Shaka

Should I stay or should I go

Rinata Shaka

Rebirth

Rinata Shaka

Origine

Rinata Shaka

The Way

Rinata Shaka

Sad Lover after Bowie death

Rinata Shaka

Art Cake

Ryo It is certainly well known that art is the ultimate form of language. Since the beginning of the centuries man has sought to communicate with higher forces through cave paintings and whatnot, even believing that all this was useful for his survival.

Hence the inference that the initial purpose of art was not ornamental, but simply a means through which to express desires, fears and hopes, to tell something. Centuries pass, man evolves and with him all art forms that also begin to play a utilitarian role in society. The human soul, its genius, becomes more complex and art becomes more complicated: new elements are recorded within it, which added together create other languages within the main one that is the artistic language. The compositional one is born, the one related to the use of certain colors, of symbols. Art contains within itself infinite idioms through which it communicates to the whole world, and as much as each people and each person are endowed with their own culture and symbology, it is undeniable to say that it is really through art that the whole world is determined and becomes one. Art is one of the most powerful universal languages that surpass the spoken and written word in effectiveness. In fact, art, in addition to speaking through forms, compositions and colors, is also an extremely useful means of externalizing to the world what cannot be said in words. It thus turns out that writing or speaking, however clear and useful they may be, do not correspond to the same ease and immediacy of expression. Ryo, for her part, knows this well and in her works she writes and speaks through form and color telling what is inside herself. "Inside my Head" is nothing more than the transposition by image of what the little girl kept inside herself; something that, if there had been no art, would have remained segregated in the most secret and intimate places of her mind. In a warm, reddish sea stands out a large yellowish blob. Its boundaries are faint, its texture ethereal and almost transparent.

All around it the salient features of the composition unfold. A large greenish patch makes acquaintance with a reddish cluster that bathes the lower part of the work. Shadowy forest meets a sea of glowing lava. Yellowish hints expand throughout the work going to embellish the spots and the reddish background, characterized by an extremely rough golden finish. Ryo takes up the paintbrush and, armed with color, expresses all her inner self on the canvas without hesitation. Like a mysterious force, Ryo and art attract each other and amalgamate with each other. The art of "Inside my Head" is a splendid example of pure pictorial representation. Free of academicism, pictorial and formal rules, cultural legacy and preconceptions, painting is free to mold itself to the artist's liking. Pure art that has within itself a few but fundamental ingredients: form, color and interiority. For Ryo and her art, there are no limits imposed by the world and society, and it is rare nowadays to have the opportunity to observe and examine pure works. Let us be carried away by the colors and dialogue with Ryo and her interiority.

Art Curator Lisa Galletti

Ryo

Inside my Head

Simone Schmid “Try something new” (Simone Schmid)

Experimentation is the key word in Simone Schmid's art at the international art exhibition DE-CRYPTICart in the international art gallery M.A.D.S. Simone is an abstract artist based in Zurich. She is mainly inspired by the colors and shapes of nature, using a variety of techniques. Her three At Night, In The Middle belong to three different sources of inspiration; however, they have in common our talented artist's distinctive and original stroke. The selection of colors is another identifying aspect. The At Night has a figurative root and develops abstractly. The woman looks at the viewer, and the fast lines contribute to the characterization of the character. The woman takes form in front of a background that is the fusion of two colors, which blend within her figure. Also of abstract root is In The Middle, it is inspired by nature. The flowers in the green meadow seem to take the shape of a heart, transmitting positive vibrations to the viewer. Same vibrations convey Turquoise Elements, the artist, this time, is inspired by a color and creates according to the suggestions it arouses.

Art Curator Mara Cipriano

Simone Schmid

At Night

Simone Schmid

In The Middle

Simone Schmid

Turquoise Elements

Sophia Openshaw “What art is, in reality, is this missing link, not the links which exist. It’s not what you see that is art; art is the gap”. (Marcel Duchamp) We are faced with a painting that becomes a means of elevation and aesthetic intuition, inviting contemplation as an essential and founding element in communion with the supernatural. A pictorial language capable of moving from earthly materiality to the enchantment of mystery: images and forms of rare poetry, fuelled by mystical seduction and sublime tones that seem to cradle reflections and nuances with elegance. Her entire production is pervaded by references to the Shinto religion where the concept of the sacred is represented by nature itself and where each element of creation becomes the highest expression of the divine and expresses one of the ways to reach contemplation of the intangible and perception of the sacred dimension of the Universe. Faced with works of such great visual and emotional impact, charged with spirituality and noble lyricism, the observer perceives the infinite greatness of the soul and feels how time and space are treated by the artist as elusive entities in which all disorder becomes order.

Sophia Openshaw

Her painting thus celebrates the importance of contemplation as an element that brings with it an inescapable process of internalisation, of returning to the origins as a subjective experience that allows the individual to move from intimacy to the mystery of existence. Sophia Openshaw's pictorial language seeks to externalise the ineffable grandeur of the Universe in order to discover what lies beyond logical schemata and to arrive at a new cognitive realism.

In each of her works we find that search for spirituality understood as a solitary and individual path, as a path that must spring exclusively from one's own interiority, and she communicates her intimist research conceived as an analysis of what binds us to the infinite and to the divine part within us.

Art Curator Giulia Fontanesi

Sophia Openshaw

Temperance

Sophia Openshaw

The fool

Sophia Openshaw

The hermit

Sophia Openshaw

Wheel of fortune

Susanne Witzig "My positive energy is reflected in all my pictures."

(Susanne Witzig)

The liveliness of soft colors is the distinctive trait of Susanne Witzig, the German artist who expresses and transmits her positive energy through her artworks. Although the artist has approached the artistic world in adulthood, she nevertheless demonstrates in her works an excellent ability of express herself through art. Her abstract paintings, which range from every type of chromatic tone except the dark ones, allow us to decipher the artist's emotions and personality and at the same time also grants calm and frenzy to the observer of the artwork.

Here there is no sadness or restlessness that transpires, but only vivacity and happiness, as suggested by the title of one of the works chosen for the exhibition "DecrypticArt" held by M.A.D.S. art gallery. If on one hand the calm of the nuances of the backgrounds, on the other there is the impetuousness and liveliness of the splashes of colors that we find above all in "Colours wave", "Happy" and "Sublime".

Susanne Witzig

"Against the tide" has a different representation, nevertheless lively and colorful. As the title suggests, we find a depiction of what may be fishes in the sea that are probably going against the current, thus they are not the only ones. Even the contours of the figures and the consistency of the water are different: the artist leaves no white spaces or shades between the colour strokes, but only squared geometric figures that form the image in its entirety. More marked black strokes bring out the fishs from the work, which otherwise would be lost in the shaped of this abstract sea.

Art Curator Angela Papa

Susanne Witzig

Against the tide

Susanne Witzig

Colours wave

Susanne Witzig

Happy

Susanne Witzig

Sublime

Sylvie Attard

"Jewelry has the power to be the one little thing that makes you feel unique." – Elizabeth Taylor. Surely uniqueness is something that characterizes the works of Sylvie Attard. Artist jewels are comparable to small and unique sculptures, each decorated with different gems, metals and designs. Attard is an expert when it comes to jewelry making: she has studied and practiced different methods and uses of the material between the United States and France. Each artworks vibrates with energy and is a tribute to the perfection of forms and to the goldsmith's art. Geometric figures have always been present in art, both in the form of a defined figure and as a basis for creating harmonic compositions or those characterized by a particular meaning. The first appearance of geometric figures in art can even be found in cave paintings: primitive peoples wanted to reproduce the world around them for both magical and narrative purposes.

But that's not all: in Greek art and craftsmanship in ancient times and in Eastern, Middle Eastern and preColumbian civilizations, regular geometric patterns were often used as an ornament for more complex works and, in many cases, these decorations conveyed a precise meaning . Geometry and art: a story as long as the history of man. Oriental and Middle Eastern-Mediterranean motifs are clearly visible in the works of Sylvie Attard. The heterogeneity of the designs is also a mirror of the different procedures used to compose a single jewel: the spirit of the artist gives life to the creations.

Art Curator Federica D'Avanzo

Sylvie Attard

Djamant

Sylvie Attard

Mandala

Sylvie Attard

Yin-Yang

Sylvie Wylie Wisdom begins in wonder. (Socrates)

Sylvie Wylie's artworks are not mere representations, they are coherent visions of a unitary universe, in which sweetly pensive characters move through fantastic atmospheres out of time and space. The graceful style is a real poetic act, which reveals a glimpse of the artist's nature. The artworks presented during the De-Cryptic Art exhibition offer the possibility of embarking on a journey into Sylvie's imaginative cosmos, starting with Pilgrim. It is a poignant portrait of a jester-like figure, caught in a moment of reflective calm. Her slightly bowed head, half-rubbed make-up, and the subtle melancholy of her gaze suggest an inner longing for the sublime, which we also find in The Moon and I. Here we find a recurring iconography in the artist's works, given by the "anthropomorphized" representation of the moon. More than a cold and remote satellite, Sylvie seems to see in it a constant guide, illuminating the world and the beautiful face of a young woman. The candid braid and diaphanous complexion almost seem to indicate that the girl belongs to the celestial world, as also suggested by the star fixed on her headdress. The journey started by the artist - which ranges between the warm notes of Pilgrim and the cold ones of The Moon and I - ends with the emblematic When I wear my Bunny Ears. Like the other two artworks, this is a composition built with the mixed media technique, which enhances its threedimensionality to the maximum degree. The same figure is wrapped in clownish clothes and her head is surmounted by a large red and white bow, the flaps of which resemble large bunny ears. Her large double-layered eyes of hers are turned outside the composition, and break the spell of the veil between the sensible and the inner world, inviting the observer to participate in both with equal wonder.

Art Curator Chiara Rizzatti

Sylvie Wylie

Pilgrim

Sylvie Wylie

The Moon and I

Sylvie Wylie

When I wear my Bunny Ears

Tan Tan Street art or street art is a particular form of expression of modern art that manifests itself exclusively in public places, (often without any authorization), using a wide variety of techniques including: spray cans, stencils, acrylic paints with brushes and other disparate media. Its origins are not well understood but certainly in the 1970s in the suburbs of New York we began to witness such a socio-cultural phenomenon and only around the year 2000 did we see a real explosion of street art thanks mainly to the British artist Banksy who initially inspired by the works of Blek Le Rat began his career as a street artist painting the streets with the help of Stencils and spray cans. With the advent and consecration of Street Art as a real art, it is no longer so rare to see materials or techniques previously used exclusively within street art making their way into mainstream media. And this is how spray cans began to make their way onto canvases. And this is how dripping, a technique inherited from Jackson Pollock and American action painting that consists of throwing color onto the canvas creating large drips are juxtaposed with the sacred and pure image of the canvas. Tan Tan, a multifaceted artist, combines the tradition of street art along with the passion for design by elaborating purely unique works. In "Reality... Under Fantasy," a black backdrop is stained irreparably by bleach stains. The latter leaves a yellowish tint to the fibers of the canvas making the surface resemble that of a burned photographic negative. The distribution of the stains is essentially heterogeneous and contrasts effectively with the presence of the acrylic color above them. Green flecks, white flecks, and pinkish splashes follow one another producing an effect of controlled chaos that contrasts and balances the non-presence of the color below them. Color, thrown on the canvas is something inevitably random. When you throw it, you never know where it will go and what shapes it will take. Tan Tan knows this well and has created an extremely balanced formal composition while taking into account the element of randomness inherent in the expressive medium. "Reality... Under Fantasy" is a representation in images of the blanket of fantasy that fails to entirely cover the world of reality, but it is also a hymn to expressive variety and the extremely happy marriage of techniques and inspirations from different artistic and non-artistic fields.

Art Curator Lisa Galletti

Tan Tan

Reality... Under Fantasy

Umi Umi participates for the first time in an exhibition organized by M.A.D.S. Art Gallery on the occasion of "DE-CRYPTICart". We human beings are predisposed to love, but we are mostly addicted to it. We make it reason for life and happiness, we try in every way to find that famous other half of the apple... but when we fall in love with someone, we cannot be certain that our love is reciprocated. It is this moment - that of the rupture, the shattering of our desires, our hopes and our expectations - that the artist Umi manages to represent in full. A flower that represents a wounded heart, bleeding and disappointed, that at any moment overflows with loneliness and sorrow. "Why don’t you reply?" tells a universal experience, because it really happened to everyone in the course of their lives: wondering what we are missing, why we are not enough, what someone else has more than us, because we seem never enough to anyone. The artist manages to give such a delicate moment a depth of other times. The blue background allows you to highlight the subject of the painting, giving it that relief and that necessary attention. The colors - pink, light and dark red, black - blend together and give life to this flower ready to move on. After all, entrusting ourselves totally and placing our trust in someone is not always such an immediate act: most of the time you take time and, above all, a growing love for yourself too.

“I love painting.”

(Umi)

Art Curator Sara Grasso

Umi

Why don’t you reply?

URBAN PWR

The Italian Artist URBAN PWR creates paintings in which he and his emotions are the protagonist. The artist is usually represented in the form of skulls and skeleton, ancient symbols that have always been present in history of art to represent death, caducity and the flows of time that transforms things. But for the Italian artist they take on a different meaning. He choose to represent himself as a skeleton to talk about his fragility and emotional intimacy, as if he even shed his own skin to show himself naked and vulnerable in front of the viewer. In the case of “From my darkside” URBAN PWR stages his hidden part. Every human being has a hidden dark side which suddenly reveals itself for unknown reasons, which is able to destroy also something we care about. The skeleton-artist appears from the background with his face covered, to represent the secret and hidden nature of the dark side of man, which is a source of destruction and self-sabotage of man himself. In this case the victim is nature, (something very important for the artist), represented by a plant engulfed in flames, result of the artist’s inner turmoil. URBAN PWR paintings usually present strong influences from Street Art and Graffiti Art. Are evident in particular references to Basquiat, not only in stylization and characterization of the forms but also in the presence of skeletons and skulls.

Art Curator Eleonora Mannarino

URBAN PWR

From my darkness

Vaida Kacergiene Vaida Kacergiene creates imaginative, innovative and contemporary works that take the viewer into other worlds, away from the everyday, to discover something unknown and curious. She loves experimenting with new techniques, providing new points of view.

Recently, she has approached digital drawing with drawings on drawing panels and software. The result is exciting. The artist is inspired by her surroundings but especially by nature and the seasons, often generating a strong sense of hope and rebirth as in the digital work 'COLOR FLOW'. She uses vibrant and impactful colours. The energy contained in the reds and purples blossoms suddenly, trying to contain the exuberance of the yellows and greens. The technique she uses is very close to the textures of oil painting, although it is a digitally produced image. Vaida is an energetic, gestural and imaginative artist. She shows great technical qualities and artistic skills. Art just comes.

It induces you to create, to let off steam on the canvas showing your true essence to the world. It creates connections between the material and the spiritual as in 'GROWTH' where it focuses on the theme of growth, through forms of elements symbolising change and evolution.

Vaida Kacergiene Distributed against a neutral background, different shapes move like a dance. A cheerful and continuous movement. The shapes are deliberately abstract, helping the audience to detach themselves for a moment from material constraints, from society, shedding pare and anxieties. The artwork invites one to be free, to feel light, leaving behind all that is negative and concentrating on the positive things that lead to inner growth. What the artist conveys are real relationships with our surroundings. She invites the audience to relate to the world, through art and imagination. To understand her artworks, one must be willing to free oneself, to let out emotions and feelings in order to fully empathise with the work of art. Vaida proves to be a creative artist who is deeply connected to nature and the wonders it offers us. She succeeds in giving the viewer experiences rich in pathos and emotion.

Art Curator Ilaria Falchetti

Vaida Kacergiene

GROWTH

Vaida Kacergiene

COLOR FLOW

Yoshi “I don’t paint dreams or nightmares, I paint my own reality”. (Frida Kahlo)

In Yoshi's artistic vision there is a tendency towards volumetric and spatial conception that results in an 'atmospheric' fusion, the paintings convey energy, warmth and movement. The colour, created with an original technique that mixes photography with digital art, takes on intense and vibrant characteristics and tones. In this way, the artist creates his own expressive language from which emerges a profound knowledge of forms and modelling. The artist demonstrates that he knows how to alternate and exchange the sense of the relationship between form and colour, preventing it from becoming fixed, all in direct contact with the tensions and abandon of the unconscious, thanks to his personal and creative freedom.

Yoshi then dwells on the ability to simultaneously work in the traditional groove of representation, to describe reality and at the same time create another parallel reality, his own. He thus investigates the delicate boundary between artificiality and reality in a visual language derived from an inner journey. A personal representation of the imagination, investigated as an absolute term that comes through a process of internalisation that assimilates and refers back to the outside world. The creative act is therefore the abstract synthesis of a phenomenal or existential state that incorporates what surrounds and belongs to us.

His painting, which can be traced back to a unique and personal handwriting that draws on the stylistic influences of abstract expressionism for its interpretative values, is recognisable at first glance for that compositional arrangement that entrusts colour with the task of conveying what his sensitive soul transforms into poetry. Art, expressed through painting, concretises his thought.

Art Curator Giulia Fontanesi

Yoshi

Rijin

Young-Hoon JEONG Young-Hoon JEONG is a Korean media artist. His work as an artist is eclectic and dedicated to both sculpture and media art. He belongs to the first generation of multimedia artists and he is an initiator of multimedia sculpture. He began to use media art when it was still an alternative and a tool for "traditional" art and not considered as an independent art style. He has continued to devote himself to this medium, managing to combine art and technology and received various recognition by allowing some of his pieces to enter important museums and collections. On the occasion of the “DE-CRYCTICart” exhibition at the M.A.D.S. Art Gallery, Young-Hoon presents three powerful works from “The swallowed scape” series. In these works the artist is inspired by the Korean’s traditional portraits. We see three portraits of young women, all drawn in profile, wearing korean traditional clothes. These art pieces come from the artist’s memory which is faint and hazy. So he decides to represent these images from his past through the realization of these girls whose figures are filled with architecture and buildings. The figures are enriched with distant landscapes of trees and birds. In this way, the artist reassembles these memories outside his head to gift them to us. Memories resurface from his mind and are reassembled by the hand of the artist, and from faint they become vivid again. Looking at them, the spectator is immediately transported into the artist's mind. His works are characterized by a neutral background against which the figures of the young girls stand out, whose soft complexion contrasts with the strong colors of the trees and flowers but also with the color of the roofs of the buildings.The atmosphere is dreamy and seems to evoke a distant world that may no longer exist in our modern days. So, what are we observing in the Young-Hoon JEONG works? A poetic and magnetic force that amazes us with a myriad of elements bombarding our retinas. The use of technology is an element that favors the creation of this world in which our minds dive to face a journey. We advance, we are about to cross the portal of reality. We are about to leave this world to discover the artist world.

Art Curator Federica Acciarino

Young-Hoon JEONG

The swallowed scape #0001

Young-Hoon JEONG

The swallowed scape #0002

Young-Hoon JEONG

The swallowed scape #0003